Friday the 13th: The Homecoming
by djbm150
Summary: Jason Voorhees returns to Crystal Lake just as Chris Higgins returns to get rid of her terrible memories of his killing spree, while the high school homecoming dance becomes Jason's onestopshop for all the bloody action. Dr. Elias Voorhees is featured.


Friday the 13th: The Homecoming

Fade in

1.Ext. The O'Brian House – Night

A chilling autumn atmosphere in a dense forest slowly appears on the screen. Thick fog seems to be drifting off the nearby lake and coming into the forest. It seems damp, as if a rain storm had just hit several hours before. As we move around we see parts of the lake, still as ever, with only tiny ripples from the passing winds. Even with the relaxed scene, the lake still appears to be eerie.

Just off the lake, about a hundred yards back, lies a house in the woods with one light shining through a window. The cabin appears to be fairly new, built in the style of a log cabin. It looks clean and stylish, belonging to a wealthy family. It is a large house, making the one light stand out even more above all the empty windows.

Cut to

2.Int. The O'Brian House Living room – Night

Inside the house we are immediately brought the room with the light on. Rustic furniture decorates the interior of the house, with a couch against the wall and a TV set placed alongside the adjacent wall. Three chairs lie in the middle of the room, with a coffee table in front of the couch.

An immediate sound of passion is heard. The sound of lips kissing and sexual activity can be heard in the room, with no breaks in between the constant breaths of pleasure. On the couch are two people, a boy MARK- eighteen, straight brown hair, medium height and a girl CANDY- eighteen, slim, blonde, medium height. CANDY is on top of MARK kissing him and rubbing her hands up and down his legs, while he feels her torso. Although they appear to be in the middle of sex, they are both fully clothed.

CANDY:

Oh, this is good.

CANDY stops and thinks about what she just said. Her face turns serious for a second before she smiles down at MARK.

CANDY:

No, wait, this is great!

MARK stops touching her and tries to sit up, resisting CANDY'S urges to continue their kissing. CANDY stops after he pushes her away.

CANDY:

What's wrong, is it something I did?

Did I talk too much?

MARK:

I just want to, you know,

speed things up a little.

You're parents won't be gone forever.

Why don't you go upstairs and get ready.

Yell down to me when you want me up there.

CANDY:

Mark, my parents will be gone

until Sunday. Today is Thursday.

MARK:

But I want to get to the good stuff.

CANDY:

Mark…

MARK smiles a leans over towards her, then closes his eyes and puts his lips out for a kiss.

CANDY:

Obviously Disgusted Take a walk.

MARK:

Opens his eyes with amazement

What did you just say?

CANDY:

I said to get out, take a walk,

take a hike. Oh, wait, do I need

to put it in jock talk?

It means leave.

CANDY stands up from the couch and buttons up her blouse. She points to the door.

MARK:

You're kidding, right?

MARK leans against the couch, trying to make himself comfortable.

CANDY:

God, you really are dumb,

you know that Mark.

MARK:

You're a fucking bitch. What more

do you want? We don't have all night.

CANDY:

That's really the only reason you came

here, isn't it? For sex. May gosh, that's

all you think about Mark, that's all boys

in general think about. Sex, sex, sex. It's

amazing you can actually spell four letter

words.

MARK:

Hey, I don't want to sound like

a total dick, but that's all our

relationship is good for, isn't

it Candy?

Cut to

3.Ext. The O'Brian House – NIGHT

Behind the leaves, a presence can be seen looking at the two teens in the window. A hand with a scar running directly down the center of it comes up to move some leaves out of the way for a better view.

CANDY can be seen standing up, arguing by using a lot of hand movements.

Cut to

4.Int. The O'Brian House Living Room – NIGHT

CANDY is still yelling at MARK, who is reluctantly planted on the couch.

CANDY:

You are pathetic, you know that

Mark. You don't care about me,

or my feelings. You just care about

'the' feeling.

CANDY composes herself.

CANDY:

I'll tell you something Mark. You,

my friend, are the stereotypical

high school asshole who lived his

glory days when he was seventeen.

You're going no where in life.

MARK laughs a little and shakes his head at CANDY.

MARK:

So, I guess we're not going to

Homecoming tomorrow?

CANDY:

Oh no, I'm going, but not with you.

MARK'S smile on his face suddenly turns into a hurt frown. He stares at CANDY, who has her arms crossed and a very angry look on her face.

CANDY:

I'm going to go take a shower,

wash off the nasty germs that you

put on me. When I get out, you better

be gone.

MARK says nothing as CANDY exits the room, but continues to sit on the couch.

Cut to

5.Ext. The O'Brian's House – NIGHT

The figure watching over the house is still here, breathing heavily. From within the house, another light in a different room goes on. CANDY can be seen walking up the stairs.

Cut to

6.Int. The O'Brian House Living Room – NIGHT

MARK is still sitting on the couch, in shock. His eyes are glassed over, as if he's about to cry.

MARK:

Shit, who am I going to

Homecoming with?

Cut to

7.Int. The O'Brian House Candy's Room – NIGHT

CANDY has just entered her bedroom and begins taking off her jewelry. She is placing it on the dresser just below a large, oval mirror. By her fast and furious actions, CANDY is frustrated.

CANDY:

What an asshole! My god, if

there were one boy in the whole

world who cared more about my self

esteem than their penis I think

I'd have to faint.

CANDY unbuttons her blouse and pulls it off, revealing her smooth skin and her white bra. CANDY looks in the mirror at herself, and gives a quick smile.

CANDY:

Nothing a good old shower won't settle,

is it Candy.

Cut to

8.Ext. The O'Brian's House – NIGHT

MARK has finally gotten up from the couch and has exited the house. He is on the front porch and shuts the door behind himself. MARK is hanging his head low, appearing to almost be in shame.

From a distance a figure can be seen looking at him. The figure is not moving around a little, shifting between bushes.

MARK walks down the steps of the porch onto the front lawn. He proceeds towards his car, a snazzy, red convertible with not a scratch on it.

MARK:

Candy, what kind of candy are you.

Definitely the sour kind.

The figure continues to shift back and forth, studying where MARK is going.

MARK arrives at his car and opens it. His opens the door and looks up to the top of the house towards Candy's room.

The sound of a tree branch snapping can be heard in the background. MARK jumps a little bit and looks around.

MARK:

Candy? Are you there?

There is no answer, just a dead silence.

MARK:

Look, Candy, I didn't mean anything

before. Don't you think we can just

make up, have fun tomorrow night, and

possibly have fun tonight.

The window to Candy's room opens abruptly and CANDY leans out, angrily shouting down at MARK.

CANDY:

Hey, Mark, when I say 'gone' I mean

'gone.' So take your stupid, girly

looking car and get the hell off

my property.

CANDY goes back inside and shuts the window furiously.

MARK:

Wait, if Candy's up there then the

hell is…

Another branch can be heard breaking.

MARK:

Who's there, who the hell's there.

There is a dead silence.

MARK:

You better leave this place man;

you better leave whoever you are.

I swear to god if you hurt that girl

in there I will-

From behind MARK two decrepit looking hands grab him, one hand grabbing the lower part of his mouth and the other hand grabbing the upper part. The left hand has a scar the scar on it. The two hands pull with one quick jerk, ripping apart MARK'S head. MARK'S entire face splits in half.

Cut to

9.Int. The O'Brian's House The Bathroom – NIGHT

CANDY, now covered only by a bathrobe, opens up the shower door and turns it on. She turns the nozzle all the way to the hot side, and tests the water. CANDY then proceeds to take off her bathrobe, revealing her entire backside. She steps into the shower, and closes the door.

CANDY sprinkles the hot water on herself, and the steam begins to rise. She allows the water to flow down her body, and her blonde hair to smoothly lie across her back.

From outside a loud noise is head. It is a car horn, and the noise is not moving. CANDY barely hears it, and turns off the shower to hear it more.

CANDY'S face once again turns to frustrated anger as she grabs for a towel.

CANDY:

I can't believe this, I just can't

believe it. What a complete asshole.

How did I ever date such an asshole.

Asshole, asshole, asshole…

CANDY exits the shower and picks up her bathrobe from the group, and puts it on over her towel.

CANDY:

Way to interrupt a girl's shower.

Cut to

10.Ext. The O'Brian's House – NIGHT

CANDY swings the front screen door open and walks onto the porch. She is still tying the belt on her robe around her waist. She walks over to Mark's car and looks inside the driver's window. There is a stick shoved between the steering wheel and the seat, pressing against the horn. CANDY opens the door and removes the stick.

CANDY:

Is this his idea of some kind of joke?

What the heck is wrong with that boy?

CANDY throws the stick behind her into the darkness and turns around, walking up to the porch.

The stick that CANDY threw lands at the feet of someone. The person is wearing black boots and blue jeans.

CANDY walks up to the porch shaking her head, and opens the screen door. She then looks outside and yells.

CANDY:

Hey, Mark! Guess what, you are an

asshole. That's right, you're the

worst of the worst, and I'm glad

I'm not with you anymore. Tomorrow

night at Homecoming, 'don't' save

me a dance- I'll greatly appreciate it!

CANDY walks back into the house and walks upstairs to the shower room.

Cut to

11.Int. The O'Brian's House The Bathroom – NIGHT

CANDY re-enters the bathroom and walks towards the shower. As she opens the door to the shower she turns the knob, once again to the hot side. She takes her hand off the knob and goes to test the water with it. When she goes to test it she notices that her hand has blood on it.

CANDY:

What the hell?

CANDY then looks at the shower floor and sees that the water is washing blood down the drain, and that the blood is coming from a stack of clothes in the center of the shower floor. CANDY bends down and picks them up from the floor.

CANDY immediately recognizes the clothes, which are covered in blood.

CANDY:

Mark?

CANDY walks out of the shower room while leaving the shower running. She slowly backs up before turning around and running down the stairs.

CANDY is screaming.

Cut to

12.Int. The O'Brian's House – NIGHT

When she reaches the bottom of the stairs she runs for the door, but is sidetracked by a trail of blood leading into the living room. CANDY walks back into the living room and follows the trail of blood to the couch, which has MARK'S dead body on it.

MARK is wearing only his boxers, and his head is positioned back against the back of the couch. CANDY slowly walks over to him and gives his shoulder a slight push.

With that little force from her push MARK'S body falls foreword, with half of his head from the lower jaw down still connected and the rest of his falls to the floor.

CANDY screams once again, this louder than the last. She panics and runs for the door. Standing at the door is JASON- a tall, bulky, brooding monster wearing a blue jumpsuit, black boots, and a white hockey mask with a crack in the upper right corner. CANDY turns and runs back up the stairs.

Cut to

13.Int. The O'Brian's House Upstairs Hall – NIGHT

CANDY runs up the stairs and once at the top she runs down the hall. Jason follows her, running as well. CANDY runs into her room and quickly slams the door just before JASON sticks his hand in the room.

Cut to

14.Int. The O'Brian's House Candy's Room - NIGHT

CANDY backs away from the door and looks around the room. JASON begins slamming on the door, pounding hard. CANDY once again screams.

CANDY:

Who are you, what do you want!

The door seems to start becoming unhinged. JASON continues pounding with all of his might.

CANDY walks over to the window opens it. She screams for help.

CANDY:

Help, help me! Somebody please help me!

JASON'S hand comes through the door and begins searching for the knob to unlock it. CANDY sees that and begins climbing out the window. JASON unlocks the door and slams the door open.

The door comes off its hinges and slams against the wall. CANDY is outside the window, placing her feet on the roof top that covers the porch.

JASON rushes over towards the window and tries to grab CANDY but she lets go of the window. CANDY looses her balance and stumbles backwards. She rolls down the roof and falls off, landing on the grass in front of the porch.

Cut to

15.Ext. The O'Brian's House – NIGHT

CANDY lies on the ground for a few moments before she regains consciousness. She looks up at her bedroom window to see that JASON is no longer there. CANDY sits up and looks around for JASON.

Cut to

16.Int. The O'Brian House Kitchen – NIGHT

Inside the O'Brian's kitchen a cupboard opens. Inside the cupboard are knives and cleavers. The hand with the scar reaches in and grabs the longest object in there- a machete.

Cut to

17.Ext. The O'Brian's House – NIGHT

CANDY slowly rises to her feet to discover that she has a hurt ankle. She limps her way toward MARK'S car and gets in the driver's side. CANDY quickly shuts the door and places her hand on the ignition. There are no keys.

CANDY:

The keys, shit! Where are the keys?

CANDY looks around the car in various places for the keys. Through the rearview mirror she sees JASON coming from the back of the car, with a machete in his hand. CANDY quickly ducks down and lies across the two front seats.

JASON slowly walks by the car and looks straight ahead. He appears to have no clue where CANDY is hiding. CANDY holds her mouth, trying not to scream. She watches JASON as he walks by.

When JASON is out of sight, CANDY slowly pokes her head up. Much to her surprise she cannot see anyone in the area. CANDY sits up and looks around some more. She can't see anyone. The fog from the lake is starting to get thicker and is rolling in.

CANDY quietly begins searching for the keys to the car. She leans over to open the glove compartment and looks through there. She doesn't find any keys in there, but she finds a flashlight. She sits back up and turns on the flashlight.

CANDY looks to her left and shines the flashlight to see the hockey mask looking directly at her. CANDY screams, and JASON thrusts his machete through the window and right into her chest. CANDY stops screaming and drops the flashlight.

JASON pulls the machete from her body and walks away.

Fade Out

18.TITLE AND CREDITS

A black screen appears, and with it the "Friday the 13th" theme music starts playing. The credits come fast and furiously, each one which, just like one of the first "Friday the 13th" movies.

Cut to

19.ARCHIVE FOOTAGE

The theme music dissolves into the sound of a car engine. We then flash to ARCHIVE FOOTAGE from "Friday the 13th Part 3D" featuring Chris Higgins running from Jason. The scene picks up when Chris is in her van and realizes that it is out of gas.

CHRIS is on the bridge at her house, and the van has just stalled.

CHRIS:

No!

She is turning the ignition but nothing is working.

CHRIS:

Come on! Come on!

The tire to the van is breaking the wooden blank on the bridge, slowly sinking into the bridge itself. CHRIS looks behind her to see JASON coming toward the car, limping along from an injury sustained beforehand.

CHRIS continues to turn the ignition and finally notices that the gas in the van is empty. Her expression of fear suddenly turns to hope.

CHRIS:

Gas!

CHRIS flips the emergency gas switch which turns on the van, and she quickly puts the van into gear and steps on the gas. The tire to the van sinks into the wooden bridge and the van is stuck on the bridge.

JASON appears from nowhere and sticks his hand through the window, choking CHRIS. She fights against him but he is too strong. CHRIS then rolls the window up, trapping JASON'S hands and forcing him to let her free. With that moment of freedom CHRIS escapes from the van through the passenger's door, leaving JASON trapped in the window.

JASON uses his hockey mask on his head to break through the glass of the van while CHRIS slides under the railing of the bridge and runs.

CHRIS runs towards the barn while JASON is chasing her. She quickly hops over a broken part of the fencing and climbs some hay to enter the barn. Once inside, CHRIS locks the door to the bard with a shovel.

JASON tires to open the barn door while CHRIS flees to the back of the barn. JASON opens the door just enough to push the shovel off the holders.

JASON enters the room with a menacing look on his face, and the proceeds to put a piece of wood down on the holders to tightly lock the door.

The scene then cuts to CHRIS, who is hiding on a high beam across the ceiling. JASON is looking for CHRIS and walks directly beneath her. CHRIS rolls over the beam quietly as JASON continues to ponder where she is directly beneath her.

CHRIS then lets go and lands directly on JASON. Both CHRIS and JASON fall to the ground, but CHRIS gets up quickly, screaming, while JASON searches for his machete. CHRIS runs to the barn door to try and open it.

Once up, JASON rushes towards CHRIS, who is still struggling with the piece of wood on the barn door. He swings his machete at her and tries to hit her, but she ducks and the machete gets stuck in the wood.

CHRIS then climbs to the top of the barn via a ladder and once at the top she grabs a piece of hay and lifts it over the hole by which she entered. CHRIS drops the hay over the hole, creating a barricade, and then grabs another shovel and hides behind a stack of hay.

JASON comes up, furiously pushing the hay off the entrance and searching for CHRIS among the hay. CHRIS sneaks up behind JASON and whams him in the head with the shovel. JASON falls to the ground, seemingly knocked out.

CHRIS then grabs the pulley system and rope attached to the pulleys and puts JASON'S head through the loop of the rope. She then pushes JASON out of the barn window, just as he regains consciousness, and as he falls you can hear something crack. JASON'S body just hangs from the rope, as CHRIS looks down at him.

CHRIS climbs down the ladder to the first floor of the barn, her face is in complete agony with tears flowing down her face. The scene appears to be calm, as she walks over to the door and tries to push the piece of wood from the barn door off the holders.

The wood is too tight so she grabs a metal wheel from the wall and hits the wood several times, knocking it loose. CHRIS removes the wood and opens the doors, to reveal JASON, who is still hanging from the rope, looking dead.

CHRIS stares at him for a second, and just as she is about to walk past him he springs to life, grabbing the rope and pulling himself up, and then removing the rope from around his neck.

CHRIS:

No! You can't be alive!

In her disbelief, JASON removes the rope his neck, taking his hockey mask as well, to reveal his truly grotesquely disfigured face.

CHRIS:

It's you!

JASON drops to the floor and picks his machete up from the ground and CHRIS stumbles backward, screaming hysterically.

JASON stands there with the hockey mask on, looking at CHRIS, who is terrified at the moment.

CHRIS:

You can't be alive! It's you!

That statement by CHRIS repeats itself several times before the whole scene gets blurry…

Cut to

20.Int. Dr. Zerner's Car – DAY

CHRIS HIGGINS – 42 years old, brown hair with blonde highlights and slightly grey streaks – wakes up from a dream of the previous segment with a jolt. Her eyes are wide, and she realizes that she has been sleeping, with her head rested against the headrest of a car. She is facing the window, and is watching the constant passing of the trees.

CHRIS puts her finger to her face and brushes away some of her stray hair which seems to have gotten in her face from her frightening dream.

ZERNER:

You had a bad dream, didn't you Hon?

CHRIS looks to her left to see DR. GREGORY ZERNER looking at her, with a slight smile on his face. He is driving the car, with both hands positioned promptly on the wheel. He is attractive for an older man, appearing to be in his mid-forties, with brown hair that is already starting to recede. He looks as if he works out some times, and is not the typical doctor.

CHRIS:

Oh, it was nothing, just a bump in

the road that startled me. That's all.

KJ:

I didn't feel any bump, Mom.

In the back seat, sitting behind ZERNER, is KJ – an 18 year old boy with a slim and tall body, brown hair and brown eyes, and an attractive face. Sitting next to him is ANNIE – a 13 year old girl with blonde hair tied in pigtails, blue eyes, and the face of an angel. CHRIS turns her head to the back and looks at them unpleased.

CHRIS:

That's because you're in the center

of the car KJ. People in the front

and the back will feel the most

turbulence.

KJ:

Turbulence? Mom, we're in a 1992 station

wagon, not a Delta Airlines Carrier Jet.

CHRIS quickly turns to ZERNER, seemingly without any patience.

CHRIS:

How much longer.

ZERNER:

Not long at all. We just passed a

sign before you woke up that said

we're in the town of Crystal Lake.

ANNIE:

Some town. All that I've seen are trees

and that ratty looking old man a few

miles back. It seems like the perfect

place for 'serial killer central.'

CHRIS rolls her eyes at ZERNER and shakes her head.

CHRIS:

You know Annie, you didn't have to

come if you didn't want to.

ANNIE:

Yes I did, KJ said I did.

CHRIS turns around once again at KJ with an angry look to her face.

CHRIS:

KJ!

KJ laughs with guilt at his mother, trying to ease the situation.

KJ:

What, Greg said that it would be best

if we came along too.

CHRIS then gently turns her head to ZERNER, who tries to watch the road while talking to her.

ZERNER:

What? It's more therapeutic if you

have someone to watch over.

ANNIE:

I still don't see why I couldn't go

to dad's house for the weekend.

ZERNER:

You're father agreed that you should come

with us. It's best for your mom.

KJ:

UnhappilyAnd he just wanted to have

the house to himself, that way he could

have all of his whores over.

CHRIS:

KJ! Watch you mouth. You're sister's in

the car.

KJ:

I can see that mom.

ANNIE:

I'm thirteen years old, I know

what a whore is.

CHRIS and KJ:

Watch your mouth Annie.

ANNIE shakes her head and looks out the window.

ANNIE:

To Herself This is going to be the

longest weekend in history.

Cut to

21.Ext. Zerner's Car – DAY

The car speeds down the empty road. From within the thick forest surrounding the street, a pair of black boots walks out. They stop and face at the car as it drives away.

Cut to

22.Ext. Borough Hall – DAY

MAYOR MINER, a man in his late fifties with a balding head and almost complete white hair is standing outside a house like building with a large plaque on it saying "CHRISTI HALL." It is located in the center of what seems to be the town center, with only a few shops and a coffee house to accompany it. The town seems rustic but new at the same time, with fresh paint jobs on all the houses and bright colors.

He is pacing back and forth, with his hands in his pockets.

ZERNER'S car drives up to the curb, and MINER rushes over to greet it.

MINER:

Hello, hello everyone.

ZERNER gets out of the car, as do KJ and ANNIE. CHRIS sits in the car for a few second and tries to take in the new Crystal Lake.

ZERNER walks in front of the car and lends out his hand to MINER.

ZERNER:

You must be Mayor Miner. I'm Doctor

Gregory Zerner.

MINER:

Nice to meet you Dr. Zerner, or is it

Greg?

ZERNER:

Whichever you prefer.

MINER:

Okay then, I'll stick to a professional

level and call you Doctor. I prefer to

be professional. You know.

CHRIS finally opens the door and gets out of the car, trying to hold back a large grin that is forming on her face.

MINER:

And must be Chris. Don't mind if I

call you Chris do you. The men get

the surnames, but the women just-

CHRIS:

I love what you've done with the place.

It looks amazing, better than I remember

it.

MINER:

Well, you haven't been here in over

twenty years, am I correct.

CHRIS:

Twenty three years actually. 1984 was the

last time I was here. I never thought I'd return.

MINER:

I tried to make the place happier, you

know, help bring people back.

KJ and ANNIE walk over to their mom and stand alongside her.

CHRIS:

And these are my two children,

KJ and Annie.

KJ lends out his hand and shakes a welcoming greeting with MINER. Annie gives a subtle, shy wave and looks at the ground.

CHRIS:

Whispering She's shy around new people.

MINER:

Well, hopefully you won't have any worries for you're the weekend. It's a beautiful day to arrive here anyway, and the weather is perfect. A great day to go down to the lake.

ZERNER:

We're actually staying at a place

on the lake.

MINER:

Oh, really, I hope nowhere near

the old Camp Crystal Lake sight.

ZERNER:

Actually, I don't think we're too

far from there, about a half a mile.

CHRIS:

Is that place still there?

MINER:

Well, not how you remember it. The old

Camp Crystal Lake was torn down years

ago. Citizens didn't see the need to

keep it up after everything that had

happened. So recently we built a new

sight, just opened last summer. The kids

loved the place. In fact the high school

is holding their Homecoming Dance in the

dining Hall there tonight. It should be

a blast.

CHRIS:

And it's safe at Camp Crystal Lake?

MINER:

I'll tell you this Chris- there hasn't

been any 'non-safe' activity in Crystal

Lake for over twenty years. In fact, for

the past three years we have been ranked nationally as one of the top fifty safest communities to live in.

KJ:

Well, that's great. A lot different

from Boston, isn't it Annie?

ANNIE:

I'll say.

MINER:

You drove all the way from Boston?

CHRIS:

Well, from a suburban town outside of

Boston. The drive wasn't that bad, we're

used to it. My ex-husband lives about an

hour and a half away, so we made it.

There is a silence among them. Everyone stands around; MINER checks his watch while CHRIS, ZERNER, KJ, and ANNIE look around at the town.

MINER:

Well, I called for that darn shuttle twenty minutes ago.

CHRIS:

A shuttle in Crystal Lake? Wow, this town really has modernized.

MINER:

Yes, I thought it could take us all up to the place where you're staying; allow me to show you around a little, get you situated.

ZERNER:

Why don't you allow us to drive you up with us. We've got all our bags and stuff in the car, it would be no trouble.

MINER looks at his watch.

MINER:

Well, I guess. I feel terrible not having the darn thing here. Visitors should not be treated this way.

CHRIS:

It's fine, really. I'll just move to the back with my kids.

ZERNER walks around to the driver's side of the car with KJ and they get in their previous seats. ANNIE goes in the car before CHRIS as they both enter the back seat, and MINER sits in the front passenger seat.

Cut to

23.Int. Zerner's Car – DAY

ZERNER and MINER are sitting in the front of the car, ZERNER seems more relaxed this time with one hand driving the car and the other rubbing his chin. ANNIE is squeezed between CHRIS and KJ in the back seat.

MINER:

Before that sign there take a right.

Cut to

24.Ext. The Crystal Lake Sign – DAY

The station wagon drives past a sign that reads

"CAMP CRYSTAL LAKE NEXT RIGHT."

Cut to

25.Ext. The Rental House – DAY

The station wagon pulls up a long dirt driveway to an older looking, large house that is overlooking the lake. Unlike the O'Brian's cabin-styled house, this one is Victorian, with large windows and three stories.

Cut to

26.Int. Zerner's Car – DAY

As they drive up to the house CHRIS, KJ, and ANNIE all stare at it.

CHRIS:

Wow, it's beautiful. Off her own comment I wish I could stay for more than weekend.

ZERNER turns around and smiles at CHRIS.

ZERNER:

Only the best for you, my dear.

Cut to

27.Ext. The Rental House – DAY

Everyone exits the station wagon and they try to get their bearings for the house. Miner continues to look at his watch as he gets out of the car, not paying attention to the house.

KJ:

It looks older than the houses back in town.

MINER:

It is, much older. Citizens chose not to tear down a lot of the old Victorian houses that overlooked the lake. I must admit that the older houses do give Crystal Lake that elderly look.

CHRIS:

Who owns this house?

MINER:

The town, actually. This house is rented out to tourists or families who want to spend the summer. It's really a wonderful place, all the utilities are checked, there's furniture inside. There's several houses just like this. All the proceeds from renting out the house goes to the town. It's what helped us to rebuild the town.

MINER laughs to himself.

MINER:

Funny, really, that the oldest parts of Crystal Lake have helped build the newest parts.

MINER looks at his watch again. He then looks up at everyone else with a selling grin.

MINER:

I have a few minutes to show you around if you'd like.

ZERNER:

Oh, that won't really be necessary. You're an important man, probably needed to help set up that dance tonight.

MINER:

Oh, right, the dance. Yes, about that. Crystal Lake is about a five minute drive from here. I'm not saying that it should be noisy, but if there happens to be some noise, not hesitate to call someone to turn it down. And any teens running onto your property- call the cops.

ZERNER:

Thank you, Mayor Miner, you've been a great help.

MINER:

Are you sure you don't need a look around. That's why I came out here in the first place.

ZERNER:

Nah, we can manage. Do you need a life back into town?

MINER:

Actually, that would be great. These Crystal Lake shuttles are what the tax payers pay for. Rather than town though could you take me down to Crystal Lake please. I really must get there by ten a.m.

ZERNER:

Sure thing.

ZERNER turns to CHRIS, KJ, and ANNIE.

ZERNER:

I guess we'll unpack when I get back.

CHRIS:

Sounds good to me.

Cut to

28.Int. The Rental House Living room – DAY

CHRIS watches through a window as ZERNER drives MINER out the driveway. The house is quiet, peaceful, and midday sun is rising just above the lake. CHRIS stares out the window over the lake, almost as if she sees something no one can.

KJ and ANNIE interrupt.

KJ:

There are four bedrooms, so that means a room for each of us.

CHRIS:

Oh yeah? Are they nice?

ANNIE:

Beautiful! I wish we lived in this house mommy.

CHRIS:

Well, Annie, a single mother who-

KJ and ANNIE finish her sentence for her as if she's said it many times.

KJ and ANNIE:

Has to take care of two kids and works as a real-estate agent outside of Boston cannot afford a large, gorgeous house.

CHRIS smiles at her two kids.

CHRIS:

You forgot the part about traveling to Fiji like I'd like.

CHRIS walks away from the window casually and takes a white sheet off the couch positioned in the middle of the room.

CHRIS notices the fireplace.

CHRIS:

It has a beautiful fireplace, don't you guys think.

ANNIE sits down on a chair without removing the white sheet first.

ANNIE:

The house that Grandpa and Grandpa owned in Crystal Lake…

CHRIS:

You mean Higgins Haven, as we called it.

ANNIE:

Yeah, was that like this?

CHRIS:

Yeah, it was a nice house. A little more rustic that this, but it was really nice. It has a bridge, and a barn. I loved the barn. I remember when I was young Grandpa would always say he was going to get a horse. Funny thing is, he never got the horse, but he always got hay.

KJ:

Do you feel okay here Mom?

CHRIS opens a closet and folds the white sheet while standing.

CHRIS:

Yeah, I actually haven't felt much yet. This place is so different, so new. It's not the Crystal Lake that was here twenty years ago. This place looks like it might actually survive in the off season. The Crystal Lake I knew was dead during the winter and springing with life during the summer.

ANNIE:

I think it kind of looks like Disneyland or something. The one street with all the brightly painted houses- crazy!

CHRIS laughs and places the folded sheet on a shelf in the closet.

CHRIS:

Yeah, well, it's nice. I don't know if Greg is going to have much luck with this little trial he's putting me through. Bringing me back here was supposed to bring out some long buried fear or something, I think. Instead I'm just normal as everyday.

ANNIE:

Mom, you're never normal.

KJ:

Mom, do you think that this is a good idea?

CHRIS:

How do you mean KJ?

KJ:

I just think that Greg gets a little carried away with these trials. You don't maybe think that he has other agendas for us.

CHRIS:

Are you asking me if I trust him?

KJ:

I don't. Dad said that you should never have come back to this place, and he's a psychiatrist, just like Greg.

ANNIE:

I think he's better.

KJ:

And dad's not the only one who didn't think you should have come back.

CHRIS:

KJ, I'm fine, really. I tried your father's way of dealing with my stress for fifteen years, and nothing worked. So now I'm trying a new way.

KJ:

I just don't trust Greg mom. Dad's showed me articles of people who go back to places where they experienced traumatic things and they break down. Like war veterans and survivors of the holocaust.

CHRIS:

You don't have to trust Greg. You did get out of school though, and you were willing to come alone.

KJ:

Annie and I wanted to look after you.

CHRIS:

That's sweet, really, but I'm fine. Nothing is going to happen.

Cut to

29.Ext. The Roadside – DAY

A HITCHHIKER is walking alongside the road, looking at a map. He is carrying a large backpack with a sleeping bag tied to it. He looks dirty, as if he hasn't showered in days.

The HITCHHIKER takes off his backpack and rests it along a rock. He then leans back against the rock and takes a water out from his pack. He presses the bottle to his lips and is amazed that there is no water left.

The HITCHHIKER smiles and nods.

HITCHHIKER:

Well, Crystal Lake is just down the road. I'll fill ya up there.

The sound of someone moving in the bushes can be heard from behind. The HITCHHIKER jumps at the noise, and quickly turns to look.

The HITCHHIKER pays no attention and turns back around.

HITCHHIKER:

Shit, my legs are tired. I hope a car comes along soon.

There is another rustle in the bushes. This time the HITCHHIKER jumps to his feet. He looks around and grabs a stick with a sharp end, holding it up in the air.

HITCHHIKER:

Who's there? Somebody there?

The HITCHHIKER shakes the stick with might.

HITCHHIKER:

Don't you come messin' whoever you are. You hear me asshole. Don't you come messin' with me!

Another rustle in the bushes is heard and the HITCHHIKER turns to see that a small rodent is making the noise, and it runs away.

The HITCHHIKER smiles and shakes his head.

HITCHHIKER:

Man, I need to get more attuned to nature.

The HITCHHIKER throws the stick into the woods and plops back down on the rock which he was sitting on. He picks up his water bottle and looks at it.

HITCHHIKER:

Well, I better go find water somewhere. Enough rest.

As the HITCHHIKER gets up from his resting spot a finger taps him on the shoulder. He turns to look at who it is and when he turns his head he sees JASON'S white hockey mask staring at him.

JASON takes the large wooden stick, holds it level with the HITCHHIKER'S head, and slams the sharp end of the wooden stick right into the HITCHHIKER'S face. JASON then runs while the HITCHHIKER is on the other end of the stick and finally rams the stick into a tree, breaking the stick down the middle. The HITCHHIKER falls to the ground, and JASON walks away.

Cut to

30.Ext. Camp Crystal Lake – DAY

We see a Birdseye view of the new Camp Crystal Lake, a large area with several smaller buildings surrounding the one large dining hall area. An American Flag stands in front of the dining hall, surrounded by bright flowers and a small, bronze plaque. The stations wagon is just pulling in.

Cut to

31.Int. Zerner's Car – DAY

ZERNER stops the station wagon and puts it into park. He lends his hand out to MINER, who grabs it tightly and shakes.

MINER:

Well, have a very pleasant stay at Crystal Lake. Remember, if for any reason there is trouble or you need something, don't fret to call me.

ZERNER:

I'll be sure to do that.

MINER nods and takes his hand back before grabbing for the door to open it. ZERNER hesitates before speaking.

ZERNER:

So is this the infamous Camp Crystal Lake, otherwise known as Camp Blood?

MINER:

Yes, this is the new Crystal Lake. I don't tend to use the Camp Blood tern too much; it tends to make the place less appealing.

ZERNER smiles and nods.

ZERNER:

Yeah, I guess it would. Are there anymore interesting Jason places?

MINER:

You mean like a grave or an old house? No, I'm sorry but there aren't. His shrine that he had lived in was actually on this very sight- it was torn down years ago. And you probably know that Jason was never buried in a cemetery, but he was cremated. His ashes belong to some distant relative or something.

MINER chuckles to himself.

MINER:

Last I heard those ashes were sold for ten thousand dollars on eBay. What a world we live in.

ZERNER:

Yeah, right, what a world.

MINER:

Is that all?

ZERNER:

Yeah, that's it. Thanks though, for everything.

MINER:

Enjoy your day.

MINER exits the car.

Cut to

32.Ext. Camp Crystal Lake – DAY

MINER shuts the door to the station wagon and walks away. ZERNER starts up the car and puts it into reverse, then slowly drives down the dirt road with dust ripping up behind him. MINER continues to walk up towards the steps to the dining hall.

The DISC JOCKEY is loading his equipment into the dining hall.

MINER:

Do you need any help with that?

DISC JOCKEY:

Nah bra, I'm good right now. Give you a click and a ring if I do though.

MINER:

Alright. Beat Bra?

From behind MINER a clean, polished Mercedes drives up and parks next to the dining hall. The windows are tinted and it is hard to see if anyone is inside. The door swings opens, and out steps a man dressed in khaki pants with a brown blazer and a red tie, wearing a white button down shirt beneath the blazer. It is ELIAS VOORHEES – a man well into his seventies, but very healthy looking. ELIAS has white balding hair and a calm, gentle looking face.

ELIAS walks over to MINER calmly, but at the same time coldly.

ELIAS:

Excuse me?

MINER turns around to see the old man.

MINER:

Yes sir, may I help you?

ELIAS:

I was told to come here by Borough Hall. They said that Mayor Miner would be here.

MINER:

Yes, the Mayor is indeed here. He is I.

ELIAS:

Oh, good, very good, I'll need to talk with you immediately.

MINER:

It's that urgent? I'm currently setting up for a High School Function. Can it possibly wait?

ELIAS:

No, Mayor, this can not wait. I am a sick old man with little time left.

MINER:

I'm sorry to hear that sir. Are you looking for a doctor?

ELIAS:

No, I am looking for you. I have information for you concerning a past resident of this town.

MINER:

Who?

ELIAS:

Jason Voorhees.

MINER grins and nods his head, looking as if he knew what was coming.

MINER:

You're another one, aren't you? One of those people claiming to be Jason Voorhees. Let me tell you something, Jason is old, but not as old as you. Do you know how many people claim that they are Jason, or that they're related to him?

ELIAS:

Attention getters, I'm sure, but I am not lying to you. I am Dr. Elias Voorhees, Jason's father.

MINER:

Sarcastically Oh, now I believe you.

MINER begins to walk towards the Mercedes, hoping ELIAS will follow.

ELIAS:

I'm not lying, I've come to warn you.

MINER:

Warn me of what?

ELIAS:

Jason.

MINER:

Jason's dead. He died twenty three years ago. A twelve year old boy sliced his head open.

ELIAS:

He's not as dead as you'd wish.

MINER:

Oh?

ELIAS:

Jason was never cremated, it was all staged.

MINER:

Okay, I'll stick around for story time only for a little, and then you must leave sir.

ELIAS:

After Jason was hit with the machete by the boy, he survived; he still had brain activity. It was hopeless to bring him back to life, but I wouldn't stop. I work at a top secret Government hospital, where research is done to create the "ultimate soldier" and science along those lines. After Jason-

MINER:

I've heard enough. Top secret Government Hospital? Ultimate Soldier? You're out of line, and I have a homecoming dance to plan. So you either leave now, or I call the police.

ELIAS:

You are making a grave mistake, Mayor. All these kids coming here tonight, they're coming to a bloodbath. Where do you think Jason will go once he arrives back? The place where he saw his mother killed, Camp Crystal Lake.

MINER:

Goodbye Dr. Voorhees, or whatever your real name is.

ELIAS:

I have identification.

MINER:

I'm sure you do. Now please leave with that identification.

MINER turns around and walks back over to the entrance to the dining hall, where the DISC JOCKEY is still struggling to get his equipment up the steps.

MINER:

Do you need any help?

DISC JOCKEY:

No, no I'm okay. I'm just fine.

ELIAS glares at MINER, a cold emotionless stare.

ELIAS:

No help, Mayor Miner, can save you. Nothing can save you. He's come home, and he's stronger than ever. Jason's back, my friend, and he'll make this place Camp Blood once again.

ELIAS turns around and walks to his Mercedes.

Cut to

33.Int. The Rented House – DAY

CHRIS is sitting inside the Rented house on the couch, staring off into space. She looks sad, however not completely depressed or even worried. It is still, calm.

KJ and ANNIE walk down the stairs.

KJ:

Is Greg back yet?

CHRIS:

No, he's actually not.

KJ:

Well, Annie and I are starving. We were thinking of talking a walk into town, checking it out a little. You want to join?

CHRIS:

Oh, no thanks honey. I'm beat, still getting in my head the idea that I'm back.

KJ:

Okay, well, if you change your mind we'll be somewhere in town.

CHRIS:

Do you have you cell phone?

KJ:

I do.

KJ notices his mother's almost completely pale face.

KJ:

Mom, are you okay?

CHRIS:

Just tired, that's all. It's beginning to sink into me that I'm back here, in Crystal Lake.

KJ:

Well, if you need anything just call my cell.

CHRIS:

Do you guys need money?

KJ:

Well, yeah, that would be nice.

KJ smiles at CHRIS, who gets up from the couch and walks into the other room with her two children.

Cut to

34.Ext. Camp Crystal Lake – DAY

MINER is outside the Crystal Lake dining hall, looking at the lake. He seems focused on something in the lake, almost possessed by a past memory that is haunting him.

The DISC JOCKEY steps out from the dining hall and opens the door to his van. The sound of the DISC JOCKEY startles MINER out of his trance.

DISC JOCKEY:

You man, I'm peacin' out. Got to go grab a bite. Be back before the dance. Everything's all set up.

MINER:

Okay, good work. I'll see you later. Beat Don't be late.

DISC JOCKEY:

Do I look like a reliable person to you, Mr. Mayor?

MINER:

No.

The DISC JOCKEY shakes his head and hops in the driver's seat of his van. He turns on the van, with the sound of blaring rap coming from the van.

Cut to

35.Int. The DJ's Van – DAY

The DISC JOCKEY puts the van in drive and steps on the gas, speeding out of the area.

DISC JOCKEY:

What a fucking stuck up asshole.

Cut to

36.Ext. Crystal Lake – DAY

MINER is still standing outside of the dining hall. He watches as the DJ's van drives away. It is silent, as if no one else is there. The quite is calming and chilling at the same time.

MINER:

Finally, some peace and quiet around here.

MINER walks down to the beach by the lake. He stops for a second, rubbing his shoes into the sand, before finally stepping out onto the pier. He walks to the end of the pier and look out across the lake. The bright sun glitters on the lake.

MINER looks at the glittering light sparkle on the water. Once again he becomes dazed by the sight of the water, staring it down.

From under the dock a hand drifts out. The hand is bluish grey, dead looking, and lifeless. MINER freezes for a second and stumbles back, nearly falling.

MINER:

Oh my god. What the-

MINER looks in the water and drifting out from under the dock is the body of the HITCHHIKER which Jason had killed before. There is a large hole in the HITCHHIKER'S face, right where the wooden stick had stabbed him.

MINER stumbles backward and looses his balance, falling into the water. MINER struggles to swim in the water, with his business attire dragging him down.

MINER tries to swim to the dock. He grabs a hold of the edge of the dock and tries to pull himself up. While pulling himself up he sees the same two black boots that we have seen several times before. MINER'S eyes look up the body of the person.

JASON, wearing his hockey mask, is standing on the dock, staring down at MINER. Although his face cannot be seen, a certain fury can be sensed.

MINER'S expression turns to fear as he gazes up as JASON, who is now twirling his machete in his hand.

MINER:

Oh my God, you have returned…

MINER'S mouth drops as JASON raises the machete into the air, and then thrusts it down at full force.

Cut to

37.Ext. The Town – DAY

KJ and ANNIE are walking through the town of Crystal Lake. It is strangely quiet, with most stores being closed and no people in sight.

KJ and ANNIE walk up to a diner and look inside through the window.

ANNIE:

There's no one in this place either.

KJ:

That's weird. It's like the town that dreaded sundown.

ANNIE:

Or the town that dreaded sunlight. It's the middle of the day, you'd think people would be in the town.

KJ:

This place just gets weirder by the second.

KJ notices that the door has a 'CLOSED' sign on it. Under the sign, written on a piece of white paper in black marker, is a note.

'AT HOMECOMING GAME. BE BACK AFTER GAME."

KJ:

Everyone's at the football game.

ANNIE:

So that means no lunch. But I'm so hungry.

KJ:

I'm sure they're selling hot dogs or something there. Maybe we should check it out. Could be fun, a football game and all.

ANNIE:

You are kidding right. KJ, we don't even live here.

KJ:

Alright then, we'll wait until the game's done to eat… if you can last.

ANNIE:

Fine, let's go to the game.

Cut to

38.Ext. Crystal Lake High's Football Field Hot Dog Stand – DAY

The football stadium behind the high school is crowded. It appears as if every Crystal Lake citizen has come out to support their team. People are cheering with noise makers and megaphones, and the place seems more alive than anywhere else in the whole town.

Two high school girls are waiting in line for hotdogs and a soda. They are both very good looking, although one appears to be more seductive than the other. TRACY – 18, sexy, seductive, brown hair, brown eyes, tan skin – and VIKKI – 18, blonde, cute, pretty, colorful, blue eyed – are the two girl.

TRACY:

I'm just saying, Vikki, that maybe he's a little too stuck up for you.

VIKKI:

Tracy, I'm fine. I know that Travis can be a dick, a huge one, but I really think he cares for me.

TRACY:

Well, I'm just saying, he's an ass to you. He thinks that because he's the star quarterback of this team he can do whatever he wants, with whoever he wants.

VIKKI:

Tracy, he has yet to cheat on me.

TRACY:

Okay, whatever.

TRACY and VIKKI move up in the line to the counter. The HOT DOG MAN gives them a quick smile.

HOT DOG MAN:

What can I get you two gals today?

TRACY:

I'll have a hotdog with ketchup and mustard, and a bag of chips, and a Stewart's root beer.

The HOT DOG MAN nods and looks at VIKKI for her order.

VIKKI:

I'll have a diet coke please.

HOT DOG MAN:

Is that it?

TRACY:

I guess.

The HOT DOG MAN takes out a hot dog and begins making it.

Cut to

39.Ext. Crystal Lake High School Football Field Bleachers – DAY

GABBY – thin, red headed, well dressed looking girl with freckles – is standing on the top bleachers with a REPORTER, who appears to be taking down notes as she speaks.

GABBY:

As the president of the class of the 2007, I would just like to add that this winning season has been everything I had hoped for. Not only was there an immensely huge turn out at every game, but the players played their best, especially quarterback Travis Savage, whose amazing football skills and winning good looks only made him the most valued person in Crystal Lake.

Cut to

40.Ext. The Football Field – DAY

TRAVIS – blonde, good looking, athletic, well built, hazel eyed – the star quarterback, throws a pass to the running back, who is running towards the end line. PAUL – brown hair, muscled, blue eyed – the running back, catches the ball and sprints to the end line. He scores a touchdown.

Cut to

41.Ext. Crystal Lake High School Football Field Bleachers – DAY

GABBY:

Oh look, we just scored.

Cut to

42.Ext. Crystal Lake High School Football Field Hot Dog Stand – DAY

KJ and ANNIE have just entered the area. They are squeezing through the tightly packed area, looking for food. KJ looks around to notice the hot dog stand located only about a dozen yards away.

KJ:

Come on Annie, hurry up. I see it.

ANNIE:

I'm coming, I'm coming. Chill out, would ya!

Just as KJ is about to get to the hot dog stand he runs into VIKKI, who's newly opened diet coke has just spilled all over KJ'S shirt. Both KJ and VIKKI stop for a moment, as KJ observes the mess on his shirt and VIKKI stands with pure embarrassment.

Both TRACY and ANNIE laugh to themselves.

VIKKI:

Oh my God, I am so sorry.

KJ:

Oh, that's um, alright.

VIKKI:

No, it's really not. I'm a complete klutz. Ugh, look at me.

KJ:

No, no, I'll just change my shirt later.

VIKKI:

You don't understand how sorry I am, here, let me take you to get you cleaned up.

KJ:

Just point the way to a bathroom and I'll be fine.

VIKKI:

It's inside the school. I'll show you so you don't get lost.

KJ:

Well, okay.

KJ reaches into his back pocket and pulls out a twenty dollar bill. He hands it to ANNIE.

KJ:

Go order, I'll be out in a few minutes. Get me a hot dog with ketchup, no mustard. And I would have ordered a coke but hey, look, I've got one all over my shirt.

VIKKI:

Sorry, your shirt has diet coke on it. Not real coke.

KJ:

Oh, never mind then.

TRACY takes VIKKI'S coke can.

TRACY:

Let me take this thing. I'll be up the bleachers when you're done.

VIKKI:

Okay.

Cut to

43.Int. Crystal Lake High School – DAY

The school is completely empty when KJ and VIKKI walk into it. The sound of the door opening makes a loud, creaking noise. They enter, and it slams behind them.

KJ:

I'll really be able to find the bathroom.

VIKKI:

Maybe if you had a day. This place is really confusing.

KJ:

Okay then.

They walk down the hall, not speaking or making eye contact, just walking.

KJ:

My names KJ by the way.

VIKKI:

Victoria, but my friends call me Vikki.

KJ:

That's a nice name.

VIKKI:

Thanks. Beat So what does 'KJ' stand for anyway?

KJ:

Karl James. I was named after my father.

VIKKI:

Oh really, what's his name?

KJ looks at VIKKI for a second while she tries to figure out what she had just said.

VIKKI:

Oh God, dumb blond moment. Real dumb blonde moment. You must think I'm a complete moron. First spilling my drink all over you then saying-

KJ:

I like dumb blondes. They make me feel smart.

KJ smiles at her and VIKKI laughs before hitting him in the chest.

VIKKI:

Jerk.

KJ'S smile doesn't leave.

VIKKI:

So I don't recognize you. Where are you from?

KJ:

It's that obvious that I'm an out-of-towner, huh?

VIKKI:

Well, in a place like Crystal Lake, everyone knows everyone. The population isn't that big.

KJ:

I'm from the Boston area.

VIKKI:

Oh, Boston, neat. I was up there a few months ago looking at colleges. BU and Emerson.

KJ:

Good schools.

They turn a corner and begin walking down another hall.

VIKKI:

So what brings you out to Crystal Lake?

KJ:

Oh, just family stuff.

VIKKI:

You've got family here?

KJ:

Not exactly. My mom used to have a summer home in Crystal Lake and we came back here for check out the town.

VIKKI:

Where are you staying?

KJ:

At this old house on the lake. It's right near Camp Crystal Lake.

VIKKI:

So you'll be right near the Homecoming Dance tonight.

KJ:

Yeah, I've heard a lot about Homecoming. At my school it's not that big a deal.

VIKKI:

Well, in Crystal Lake, life revolves around camping and football. The whole town comes out to support the team.

They reach a door that says 'MEN' on it.

VIKKI:

Here we are.

KJ opens the door and steps one foot inside.

KJ:

Thanks for everything.

VIKKI:

I'll wait here for you. I don't want to walk back alone.

KJ:

Well, if you insist.

VIKKI:

Remember hot water on that. It'll help get the stain out.

KJ:

Thanks.

KJ steps in the bathroom and allows the door to close, while VIKKI waits outside. VIKKI leans her head against the wall, and smiles at the ceiling.

Cut to

44.Ext. Crystal Lake High School Football Field Bleachers – DAY

ANNIE has joined TRACY on the bleachers, with TRACY'S friend LISA – Asian, pretty, sassy. PARIS is seated next to her boyfriend DWAYNE – African American, wears glasses, and has an afro.

TRACY looks up at GABBY, who is jumping on the bleachers and cheering on TRAVIS.

TRACY:

To LISA Get a load of Gabby, cheering on Travis like they're dating.

LISA:

What a bitch. If Vikki were here right now I'd join her in kicking Gabby's presidential, stuck up ass. That girl deserves to be impeached from office.

TRACY:

I know. Who does she think she is. I'm telling you, Travis is going to hook up with her and break Vikki's heart. It's going to happen.

DWAYNE:

Girl, you don't know what you're talking about. Travis would never go for Gabby. She's too smart for his liking.

LISA:

Are you saying Vikki's dumb? You better not be saying Vikki's dumb.

DWAYNE:

Well, she's not the brightest.

LISA:

Oh boy, oh boy…

DWAYNE:

What?

LISA:

You are a shit. You hear me Dwane, a shit.

DWAYNE gives LISA a large smile.

DWAYNE:

Paris, honey, you love me.

LISA:

Not right now I don't.

DWAYNE:

You love me.

LISA:

No I don't.

DWAYNE:

To TRACY and ANNIE LISA loves me.

VIKKI walks up the bleachers with KJ right behind her. She sits down next to TRACY. KJ has a large wet spot on his shirt, but the stain seems to be out. KJ doesn't sit but he looks at ANNIE.

KJ:

Ready to go?

VIKKI:

You're leaving. Aren't you going to stay for the game?

KJ:

I would but we really have to get back home and help unpack.

VIKKI:

Well, it was nice meeting you.

KJ:

You too, Vikki. Maybe I'll see you around town.

VIKKI:

Definitely, count on it.

KJ:

To ANNIE Ready?

ANNIE:

I got you a hot dog.

KJ:

Thanks.

ANNIE hands him and hot dog and they both get up and walk down the bleachers. KJ turns his head once more to see VIKKI, who he smiles at. TRACY notices the gesture.

TRACY:

I think that someone has a crush on you.

VIKKI:

KJ? I don't think so.

LISA:

Girl, you really are a dumb blonde.

TRACY:

So what's the scoop? Why's he in town?

VIKKI:

Some kind of family thing. It sounded weird.

DWAYNE:

Is he staying long?

VIKKI:

I don't know.

DWAYNE:

Travis wouldn't be pleased if there was another man in town.

LISA:

Well, Travis doesn't have to find out. Unless you want an ass-kickin'.

DWAYNE:

Only if it's your foot on my ass.

TRACY and VIKKI roll their eyes at each other while LISA and DWAYNE continue to flirt.

VIKKI looks out at the football game, which is on a break for halftime. She sees TRAVIS, who is getting water. He has hit helmet off, and is smiling at the cheerleaders.

VIKKI bites her lip and looks away.

Cut to

45.Int. The Rented House Living Room – DAY

CHRIS is shifting through some books in the rented house. The books are located in a brittle looking bookcase, covered in dust. CHRIS notices a book which catches here eye. She pulls it out of the bookcase.

It is newer looking than the rest, but still covered in dust, with a glossy cover still visible. It has a picture of Crystal Lake, most likely around dawn, when the sun is rising. CHRIS reads the title to herself.

'INTO THE WOODS: THE ACCOUNT OF A VICTIM'S SURVIVAL – BY GINNY FIELD.'

CHRIS:

Ginny Field, Ginny, Ginny. You poor thing, what ever became of you?

CHRIS hears the front door creak open, which startles her at first. She lays the book down on a shelf, not placing it back in with the rest. CHRIS walks to the front door.

CHRIS enters the front room to notice that no one is there. She peers outside to see that the station wagon has parked outside.

CHRIS:

Greg!

ZERNER comes into the room, holding a suitcase.

ZERNER:

Hey, where is everyone?

CHRIS:

KJ and Annie went out for food. They'll be back.

ZERNER:

Good luck getting food. The town's closed down due to that Homecoming game.

CHRIS:

Oh, well they should be back soon to help carry.

CHRIS grabs one of the bags from ZERNER'S arms, which is quickly slipping out.

CHRIS:

Let me help you with that.

ZERNER gives her the bag and the two walk into the other room and up the stairs.

Cut to

46.Int. The Rented House Second Floor – DAY

ZERNER and CHRIS are walking up the stairs, lugging suitcases.

CHRIS:

You took a long time. Where'd you go?

ZERNER:

I went to check out some places around town, try to find a good spot to start.

CHRIS:

Start what?

ZERNER:

Your therapy.

CHRIS:

Well isn't this place good enough. I'm paying five hundred a night for it, it better be good.

ZERNER:

Its fine to stay it, and to adjust a little, but you need something more, to trigger a reaction.

CHRIS:

Why do you need a reaction? I thought that if a reaction came it came, and if it didn't then it didn't.

ZERNER:

I believe that by bringing out somewhere that you will remember the incident then it will help to better force the fears from your memory.

CHRIS:

Is there evidence that could work of is this a theory?

CHRIS stops walking in front of a door. Before he opens the door he looks at CHRIS.

ZERNER:

Is there something wrong here, Chris?

CHRIS:

Unsure of what to say Um, no, I don't think so. I just want to be sure about this treatment, before we proceed.

CHRIS shakes her head and rolls her eyes.

CHRIS:

To tell you the truth I'm a little stressed out. Being back here, the memories.

ZERNER opens the door.

ZERNER:

Well, hopefully those memories will be gone.

ZERNER and CHRIS walk into a bedroom. The room is dull and bland, and it too looks dusty.

CHRIS:

I don't know if I want the memories to be gone though. I like remembering my friends and stuff. I don't think I'm ready to let go.

ZERNER:

It's been twenty three years. It's time to let go Chris.

CHRIS:

I know, I have to move on. And I've tried everything; medication, group therapy, your therapy, clinical treatment, even psychiatric treatment, and nothing has worked. I think that it's partially because I don't want it to work.

ZERNER places his bag on the bed. CHRIS holds onto hers, grabbing it tightly.

ZERNER:

You just have to trust me.

ZERNER comes up to CHRIS and stares her in the eyes. He then proceeds to kiss her on the cheek.

ZERNER:

Do you trust me?

CHRIS:

Always.

Cut to

47.Int. Elias Voorhees' Car – DAY

ELIAS is driving along the road. There are trees on both sides of the road, and no one else appears to be in sight. ELIAS is turning the stations on his radio dialer. He leaves it on classical music.

A cell phone rings in the car. ELIAS puts on his blinker and pulls over to the side of the road. He stops the car and turns it off. He then picks up a small, expensive looking cell phone.

ELIAS:

Dr. Voorhees.

There is someone on the other line speaking.

ELIAS:

No sir, I haven't found him yet. I'm still looking-

ELIAS is cut off by the angry mumbling on the other end of the line.

ELIAS:

I understand sir. I have the situation under control. I've warned the mayor.

The mumbling continues. ELIAS looks out his windshield. He then looks in the rearview mirror. When he looks in the mirror he sees a figure run across the street and dart into the woods.

ELIAS:

I'll have to call you back.

ELIAS hangs up the phone despite the still angry voice talking. ELIAS grabs a gun from the glove compartment and exits the car.

Cut to

48.Ext. The Street/Forest – DAY

ELIAS exits the car quickly, leaving the door wide open. Although old and frail, ELIAS' determination allows him to run into the woods. With his gun ready to fire, ELIAS tries to track the figure that darted into the woods.

ELIAS:

Jason! I know you're out here Jason!

ELIAS slows down for a quick second while running to catch his breath, before running back into the woods. He runs and runs, dodging tree limbs and jumping over sticks.

ELIAS then realizes that the chase is pointless, and out of breath he gives one last scream.

ELIAS:

Jason! I'm going to find you! To Himself I'm going to find you, son.

ELIAS continues to pant as he looks throughout the forest.

Watching ELIAS from a distance is JASON, who is hiding behind a bush. Heavy breathing can be heard. The hand with the scar moves a branch to get a better view.

Cut to

49.Ext. Crystal Lake High School Parking Lot – DAY

TRACY and VIKKI are leaning on a black sports car. It is shiny and new looking. They appear to be board, as if they've been waiting a while.

TRAVIS and PAUL exit the locker room of the school, with big smiles on their faces. They begin to walk towards VIKKI and TRACY.

TRACY:

Here comes the stars.

GABBY then cuts in front of the boys as they approach VIKKI and TRACY. GABBY, with a devilish smile, looks at TRAVIS in the eyes.

GABBY:

Great game Travis. That was amazing. You won it for us.

TRAVIS stares into her eyes, trying to hold back a smile.

TRAVIS:

Uh, thanks Gabby. That means a lot.

PAUL:

How'd I do Gabby?

GABBY:

I wasn't watching you. To Travis I was watching Travis. I've never seen a high school boy with so much talent. I think you could give Derek Jeter a run for his money.

TRAVIS:

Derek Jeter is baseball. I think you mean Dan Marino or someone.

GABBY:

Baseball, football, whatever. They have balls, that's all that matters.

GABBY gently touches TRAVIS' abdomen. She then begins to walk away.

GABBY:

I'll see you tonight at the dance.

GABBY walks away, while TRAVIS just stares.

VIKKI, obviously annoyed, hurries away. Her face looks hurt. TRACY notices her leaving.

TRACY:

Vikki, wait. Come on Vikki.

VIKKI pays no attention but continues walking. TRAVIS runs over to her.

TRAVIS:

Don't worry Tracy, I've got it.

TRACY stands down. TRAVIS runs after VIKKI, who has made it onto the baseball field of the school. TRAVIS grabs her by the should and stops her.

TRAVIS:

Vic, wait.

VIKKI stops and looks to the floor.

TRAVIS:

I love you, I really do. Gabby, she's just jealous of you.

VIKKI:

Why? She's got the good looks, the money, the brains; hell, she's even class President. And now she's stealing my boyfriend.

TRAVIS:

Well it wasn't a successful theft. I'm still here, aren't I? With you?

VIKKI

Quietly Yes.

TRAVIS:

Exactly, Vic, I'm not going anywhere. I'm right here, and we're going to the dance together tonight.

VIKKI:

I overreacted.

TRAVIS:

Baby, you did nothing wrong.

TRACY and PAUL are watching them talk. TRACY is shaking her head.

TRACY:

I know he's going to break her heart. It's only a matter of time.

PAUL:

Hey, Travis is my best friend… but you're right. He can't control himself.

TRACY:

Paul.

PAUL:

Yes?

TRACY:

If you ever cheat on me, especially with Gabby, I will kill you.

PAUL:

Well, if I ever hook up with that bitch, I deserve to be killed.

PAUL wraps his arms around TRACY'S waist. She giggles as he carries her to the car.

TRACY:

Put me down, Paul, put me down.

VIKKI and TRAVIS hear their laughter.

TRAVIS:

Let's go. I've to get ready. What time should I pick you up?

VIKKI:

We ordered a limo.

TRAVIS:

What?

VIKKI:

Tracy and I called for a limo. We're paying for it. It's our way of showing you and Paul how awesome you are at football. Beat I mean, the star football player has to arrive in style to a homecoming dance.

TRAVIS:

That's actually so sweet of you.

VIKKI:

It's picking you and Paul up first, around six. Don't be late.

TRAVIS:

I won't. I think you and Tracy should worry about being late.

TRAVIS grabs VIKKI by the hand and the two walk back towards the car.

Cut to

50.Ext. Camp Crystal Lake – DAY

PRINCIPAL CHALRES – in his late 50's, badly parted hair to the side, nasty face – is standing outside of the dining hall at Camp Crystal Lake. He is watching as the students and teachers leave the scene.

CHARLES:

Have a nice day everyone. Drive safely. I'll see you all tonight.

CHARLES watches as the kids load up into their cars and drive away.

CHARLES:

To Himself What a waste of pure American life.

MS. PARKS – a middle aged woman with the friendliest face imaginable - comes out from the dining hall, closing the doors behind her. She approaches CHARLES with a smile.

PARKS:

Principal Charles, how are you?

CHARLES:

I'm just fine, Ms. Parks. And yourself?

PARKS:

Just peachy. Enjoying the fresh air of the lake I see?

CHARLES:

Just awaiting the oncoming night of bad dancing, crappy music, and worn out trends.

PARKS:

Not optimistic about Homecoming, are you?

CHARLES:

I just don't see why we couldn't have it in the high school gym, like every other year. Mayor Miner is getting out of hand with the re-opening of Camp Crystal Lake deal.

PARKS:

Has the mayor even arrived yet?

CHARLES squints his eyes, and finally looks at PARKS, who is still lending a friendly smile.

CHARLES:

The DJ said he was here about an hour ago. He's probably home getting ready for the big night.

PARKS:

We should probably do the same.

CHARLES:

I think I'll just wear this, my suit and tie, to the dance. No need to get carried away.

PARKS:

Is Victoria getting ready right now.

CHARLES:

I'm sure she's at home, putting on makeup, trying on some sleezy dress.

PARKS:

I spoke with her the other day. She's under a great deal of stress.

CHARLES' attention is finally grabbed by PARKS.

CHARLES:

How so? I've provided for that girl her whole life.

PARKS:

She needs a mother figure I guess. It can't be easy, growing up without a mother. Not to mention she's dating Travis Savage, the star quarterback of Crystal Lake High. He's sure to bring a name back to Crystal Lake when he goes to college… Beat A name that isn't Voorhees.

CHARLES:

I don't fancy Victoria dating him. He's no good.

PARKS:

Will anyone ever be good enough for your likings, Principal?

There is a silence. CHARLES turns around and begins walking toward the dining hall.

CHARLES:

Very good, Ms. Parks. I'll see you tonight.

PARKS:

Save me a dance.

CHARLES:

Under his breath I think I'd rather go home without a head.

CHARLES sighs.

Cut to

51.Int. The Rented House Chris' Room – DAY

The sun is beginning to set over Crystal Lake. CHRIS has changed into some more presentable clothes, and she is currently combing her hair while sitting on the bed. ZERNER walks into the room, dressed in a nice button down shirt and khaki pants. He smiles at her.

ZERNER:

You look beautiful.

CHRIS:

I'm almost ready. Give me about three minutes.

ZERNER:

Sounds good. I'll just be in the other room.

Cut to

52.Int. The Rented House Zerner's Room – DAY

ZERNER walks into his bedroom and shuts the door. He leans against the door and looks at the ceiling for a brief second. He then looks down at his cell phone to see that he has a missed call. He opens up the phone and dials a number.

The phone rings.

ZERNER:

Sean, its Greg Zerner.

The voice on the other end of the line mumbles a friendly mumble.

ZERNER:

I'm good thanks. You called?

The voice begins to get a little more serious on the other end. ZERNER'S eyes roll as he listens.

ZERNER:

Look, I told you, I'm almost done writing the novel, I-

The voice cuts ZERNER'S sentence off.

ZERNER:

I know the publishers have a deadline, but I'm doing my best. I just need to bring her somewhere where she'll have some kind of break down.

Cut to

53.Int. The Rented House The Second Floor Hall – DAY

CHRIS is now ready as she exits the room. She walks down the hall past ZERNER'S room's door and overhears his conversation.

ZERNER:

We just arrived in Crystal Lake this morning. She hasn't had a chance to react to her surroundings. I'll be sure that she does.

There is a break. CHRIS listens harder on the phone conversation by pressing her ear up against the closed door.

ZERNER:

I want to bring her to Camp Crystal Lake, but there's some dance there tonight. I'll bring her there tomorrow. I think I might bring her to visit Pamela Voorhees' grave sit tonight.

CHRIS frowns as she listens to the conversation.

ZERNER:

Of course she trusts me. She thinks I'm in love with her. She's a woman; vulnerable. I'm so close to getting her to break down. And with her kids here to worry about, it's doomed to happen. Just a little push will send her over the edge. Don't worry.

CHRIS has heard enough. She takes her head away from the door and walks away.

Cut to

54.Int. The Rented House Zerner's Room – DAY

ZERNER:

Okay, I'll have everything ready for you by Monday. I'm in the final stages of writing the novel. I just need this last chapter.

The voice on the other end talks for a few seconds and then stops. ZERNER hangs up the phone.

Cut to

55.Int. The Rented House Living Room – DAY

CHRIS walks down the stairs to the living room. KJ and ANNIE are sitting at the television set. KJ is watching TV and ANNIE are talking on the phone to one of her friends.

ANNIE:

On the phone I hate her. Did she really say that about me? Typical too, to say it when I'm away. What a backstabber.

CHRIS enters the room and walks over to her two children. She has a sympatheic look on her face, yet almost worried at the same time. She stands next to them.

CHRIS:

Annie, could you hold that conversation for a minute.

ANNIE:

But mom, I just found out something that could change my life.

CHRIS:

Just tell whoever it is that you'll call them back.

ANNIE gets on her knees on the couch.

ANNIE:

But mom, you'll never believe the rumors that are flying around about me back at school.

CHRIS:

You're thirteen years old, Annie, you'll live. Now hang up the phone.

ANNIE talks on the phone to her friend, with a disappointed expression of defeat.

ANNIE:

I'll call you back; my mom's being a nutcase again.

KJ:

You look nice mom.

CHRIS:

KJ, I need you to look after your sister, get ready to leave.

KJ:

What!

CHRIS tries to quiet down her children.

CHRIS:

We can't let Greg know. I'll tell about it later, but we have to go.

KJ:

Why?

CHRIS:

KJ just do as I say. I'll tell you later.

KJ shakes his head, just giving in.

KJ:

Well where are you two going right now?

ANNIE:

There are not many places to go in this town.

ZERNER interrupts the conversation by walking down the stairs. He is suave and acts nothing of the previous conversation.

ZERNER:

I actually heard of this place, in the middle of town. It's a bar or something. Afterward I thought your mother and I could get some view of the crazy wildlife in Crystal Lake.

KJ:

That's weird, Greg. I don't really think that people go out looking for wildlife at night in Crystal Lake, which is a town known for its serial killers.

ZERNER walks over to CHRIS with a large smile and wraps his arm around her.

ZERNER:

Not anymore.

CHRIS:

If I feel up to it I'll go. Otherwise we might just eat and leave.

ZERNER:

Whatever you say.

CHRIS:

To KJ and ANNIE Would you guys like to come?

ZERNER:

Nah, they don't want to come. They've got the whole house to themselves.

CHRIS looks awkwardly uneasy. She removes ZERNER'S arm from around her shoulder and reaches into her purse.

CHRIS:

Here's twenty dollars to order a pizza or something. I don't want you leaving the house, have it delivered.

ZERNER:

No, Chris, put your money away. This one's on me.

ZERNER takes out a twenty dollar bill and hands it to KJ.

ZERNER:

Now you two have fun, but not too much fun.

KJ:

Obnoxiously Will do, Greg.

CHRIS and ZERNER walk towards the door.

CHRIS:

If you need anything just call my cell.

ANNIE:

Will it work out in these woods?

CHRIS:

Of course it will. We're in Crystal Lake, not Mars.

KJ:

Sarcastically Good on, mom.

ZERNER opens the front door and allows CHRIS to step outside.

KJ:

Have fun!

ZERNER closes the door behind him. KJ moves his head and looks out the window. His face is lit up when the station wagon's lights turn on. KJ watches them leave.

ANNIE picks up the phone and begins to dial a number.

KJ:

Something's wrong. Beat I knew Greg was a fraud.

KJ sees ANNIE with the phone pressed against her ear.

KJ:

Get off the phone.

ANNIE:

Why?

KJ:

We've got to pack up, like mom said.

ANNIE:

Can't it wait? I'm in the middle of a really big dilemma right now.

KJ:

Annie, hang up the goddamn phone, right now.

ANNIE:

No, you can't make me.

KJ glares at her.

Cut to

56.Int. The Charles House – NIGHT

VIKKI is waiting on the couch, dressed in a trim, cut black dress. She is stunning, with her hair pulled up in a fancy bun, and her makeup done just right. She sees headlights slowly enter her driveway.

A car outside honks the horn.

VIKKI gets up and picks up a small handbag. She then walks to the door and opens it.

Cut to

57.Ext. The Charles House – NIGHT

VIKKI walks over to the limo.

Cut to

58.Int. The Limo – NIGHT

VIKKI opens the door to the limo and gets in. Sitting inside is TRAVIS, TRACY, PAUL, LISA, and DWAYNE, all dressed to the finest. TRAVIS and PAUL are dressed in black and white tuxedos, with TRAVIS wearing a bow-tie and PAUL wearing a tie. TRACY is decked out in a dark red skirt with dark eye makeup and a fancy hair. LISA is wearing the brightest colors in the car, with a yellow dress with puffy shoulders, and DWAYNE is dressed in a purple tuxedo.

VIKKI gets in the car.

VIKKI:

Hey everyone.

VIKKI sits down next to TRAVIS.

VIKKI:

I guess I'm the last stop.

VIKKI closes the door.

TRACY:

Hey Vikki, you look amazing.

TRAVIS looks at VIKKI with puppy-dog eyes.

TRAVIS:

It's true.

VIKKI grins.

VIKKI:

Thanks.

VIKKI looks at LISA.

VIKKI:

I love that dress Lisa, where'd you get it.

LISA smiles.

LISA:

I'll never tell.

DWAYNE:

Hey Vikki, how do you like the Tux?

VIKKI looks at DWAYNE for a few seconds, trying to think of the right thing to say.

VIKKI:

You and Lisa will certainly be the most colorful couple.

DWAYNE:

Hey, is that meant to be racist?

VIKKI:

Giggling What?

Cut to

59.Ext. The Charles House – NIGHT

The Limo drives away.

Cut to

60.Int. Casino Night Spot – NIGHT

ELIAS walks into a popular night spot (similar to the one in "Friday the 13th Part 2") looking for a place to sit. The night spot is crowded, filled mostly with regular townies and backwoods people. ELIAS finds a stool at the bar and sits down. A BARTENDER comes up to him.

BARTENDER:

Hello sit, can I get you something?

ELIAS nods his head.

ELIAS:

Yes, hello, how are you? May I have a Coors on tap?

BARTENDER:

Sorry sit, but we don't have Coors on tap?

ELIAS:

Do you have a Micalobe?

BARTENDER:

Yes sit, we do. Would you like anything to eat with that?

ELIAS:

Oh yes, I'm starving, been traveling all day. Do you have burgers or anything?

BARTENDER:

We sure do. Cheese or no cheese?

ELIAS:

No cheese, thank you.

The BARTENDER walks away. ELIAS turns to the person next to him, who happens to be SANCHEZ – in his 50's, Spanish, long ponytail, very tough looking. ELIAS taps him on the shoulder.

ELIAS:

Excuse me sir?

SANCHEZ:

Yes?

ELIAS:

Do you know of any motels around here?

SANCHEZ:

You can stay in this motel probably. Can't he Jim?

The BARTENDER looks back at ELIAS and SANCHEZ.

BARTENDER:

Sure can. We've got two open rooms right upstairs.

ELIAS:

Oh, thank you sir, how much would that cost?

BARTENDER:

Twenty five per night.

ELIAS:

Perfect.

ELIAS turns to SANCHEZ.

ELIAS:

Thank you.

SANCHEZ:

No problem.

The BARTENDER hands ELIAS a mug of beer. ELIAS holds it with his hands and looks at it, not drinking. SANCHEZ notices him.

SANCHEZ:

So what brings you to Crystal Lake, my friend?

ELIAS:

Oh, it's a very long story.

SANCHEZ:

I've got time if you've got time.

ELIAS:

Family.

SANCHEZ:

You have family here?

ELIAS:

That's what I'm trying to figure out.

There is a silence between the two of them.

ELIAS:

I work for the Government, a testing facility. We test steroids, trying to find ways to heal people faster or to increase their strength, and even bring people out of comas. You see, we do this for military reasons. I guess you could call if research on creating the perfect soldier.

SANCHEZ:

So you're a scientists. That's pretty neat.

ELIAS:

We began the project nearly thirty years ago. I had left my wife to do so. She seemed to have gone mad after our son drowned. Tragic it was, but her insanity led her to pure madness, a madness I was glad to escape.

SANCHEZ:

Sorry to hear about your son's death.

ELIAS:

Oh, my friend, he didn't drown. No, no, death would not accept such a fowl soul. He lived, unknown to his mother and I. Somehow he survived alone, in the wilderness.

SANCHEZ:

Sounds a lot like Jason Voorhees to me. That bastard killed my two little girls back in '84.

ELIAS:

It was Jason.

SANCHEZ stops, and his face turns to anger.

SANCHEZ:

You're the father of Jason Voorhees?

The entire room becomes silent. SANCHEZ stares at ELIAS.

SANCHEZ:

Damn you for brining a monster into the world.

ELIAS looks around, embarrassed.

SANCHEZ:

I ought to kill you right now, you son of a bitch. I hope you rot in hell, with your wicked wife and your monstrous son.

ELIAS:

Jason is alive.

SANCHEZ'S eyes grow large, almost expressionless. ELIAS gets up and leaves several dollars on the bar.

ELIAS:

To the BARTENDER I'll be right back, I need to get my bags.

BARTENDER:

Those rooms actually aren't open anymore, and your money isn't accepted here.

ELIAS looks at the BARTENDER, almost as if he is shocked but knew his reaction would be that way.

BARTENDER:

I suggest you leave right now sir.

ELIAS:

I see.

ELIAS stands up and walks over to the door. Before exiting he looks back at a room full of angry faces staring at him. SANCHEZ'S face seems to stand out among the crowd.

ELIAS:

Happy Friday the 13th, everyone.

ELIAS exits the building.

Cut to

61.Ext. The Casino Night Spot – NIGHT

ELIAS walks over to his Mercedes just as the station wagon pulls up into the driveway. As ELIAS gets into his car, CHRIS and ZERNER exit their car.

CHRIS and ZERNER walk into the Casino, not speaking to each other.

Cut to

62.Int. The Casino Night Spot – NIGHT

CHRIS and ZERNER enter the room, and as the enter a room full of angry faces turn to them. CHRIS and ZERNER freeze. The people then turn their heads and begin mumbling among themselves. The music starts up again, and place finally gets loud.

CHRIS and ZERNER grab two empty stools at the bar, located where ELIAS was sitting next to SANCHEZ. CHRIS seats herself next to SANCHEZ, who turns to look at her.

SANCHEZ turns to her with a grin.

SANCHEZ:

Can you believe that some guy just walked in here claiming to be the father of Jason Voorhees?

ZERNER looks at CHRIS' face as she freezes, looking ready to cry. She turns to SANCHEZ.

CHRIS:

No, I didn't know that.

SANCHEZ:

You can't come around here saying those things, even if they're true. He's lucky we all didn't kill him tonight. If wasn't so old I would have hit him. Beat Bastard killed my two twin girls back in 1984. Their names were Terri and Tina.

CHRIS:

That's terrible. I'm sorry for your loss.

SANCHEZ:

I don't recognize you, are you from around here?

CHRIS:

I used to live here, years and years ago. I'm just visiting now.

SANCHEZ:

Let me guess, you wanted to visit the town where the famous Voorhees murders took place. People used to leave this town because of the Voorhees murders, now they're coming here because of them. It's sick, really sick. The whole human race has just gone down the drain.

CHRIS:

Yes, Jason has become a celebrity. Like Charles Manson and Jack the Ripper.

ZERNER sits and observes as CHRIS talks about Jason with SANCHEZ.

SANCHEZ:

Were you alive when Jason attacked Crystal Lake? Did you live here?

CHRIS:

I was nineteen at the time. I remember him quite well. A face I'll never forget.

SANCHEZ:

What did you say? Did you see Jason?

CHRIS:

I tried to kill him.

SANCHEZ looks around and keeps his voice low.

SANCHEZ:

Wait, your are…

CHRIS:

Chris Higgins.

SANCHEZ:

Holy Moses, this really must be Friday the 13th in Crystal Lake. First Jason's father, and then one of his nemeses.

CHRIS:

What did Jason's father have to say?

SANCHEZ:

That Jason's alive.

CHRIS:

What!

SANCHEZ:

Yeah, the guy must not have known about Jason being killed. What a crack.

CHRIS:

There's no body to prove that he's dead. He was cremated.

SANCHEZ:

He was stabbed in the head, there's no way he's alive.

CHRIS:

It is possible. Pause But I really don't want to think about it.

ZERNER is looking at them, fixed on their conversation.

CHRIS:

What?

ZERNER:

Are you alright?

CHRIS:

I'm fine. Under her breath Like you care anyhow.

SANCHEZ notices the tension between the two. He sits back and relaxes.

Cut to

62.Ext. Camp Crystal Lake – NIGHT

The Limo pulls up in front of Camp Crystal Lake's Dining Hall. There are tons of cars dropping people off, several other limos. A lot of teenage kids are walking about, heading for the dining hall. There is the sound of techno style dance music, and flashy lights seem to be shining through the seemingly dark interior of the dining hall.

VIKKI exits the limo first, followed by TRAVIS who takes her hand. TRACY and PAUL exit after them, followed by DWAYNE and LISA, who seem to be the liveliest of the three couples. People watch as they exit the limo and walk towards the dining hall.

The limo slowly drives away.

GABBY approaches VIKKI and TRAVIS, dressed in a white, sparkling dress. She walks to them with a suave walk and a devilish smile.

GABBY:

Travis, Vikki, I'm so glad that the two of you are finally here. Now I guess the real party can finally start.

VIKKI takes a deep breath before engaging in conversation.

VIKKI:

Gabby, you look wonderful. That dress is just-

GABBY:

Stunning, I know. Of course, hello, I picked it out.

TRAVIS breaks up the conversation.

TRAVIS:

Well, Gabby, it's been nice. We'll see you around.

GABBY:

Don't be late lover.

VIKKI and TRAVIS begin walking. VIKKI has a perplexed look on her face.

VIKKI:

See you later? What does that mean?

TRAVIS:

How should I know? That girl, she's crazy.

VIKKI and TRAVIS continue walking. They spot the football players all standing dressed in tuxedoes on the porch of the dining hall, laughing.

TRAVIS:

Huh, they all made it.

VIKKI:

Why don't you go say hi? I've got to go find my dad anyway, let him know I'm here.

TRAVIS:

Do you want me to come?

VIKKI:

Thinks to herself No, that's alright Travis. Go have fun.

TRAVIS walks over to the football team, which consists of muscled boys and fat kids, most without dates. VIKKI walks to the opposite side of the porch, where CHARLES is standing with PARKS.

VIKKI:

Hey dad.

CHARLES:

Vikki, you look… underdressed.

PARKS notices the disappointment that suddenly swept over VIKKI'S face.

PARKS:

He means that you look stunning. That dress is beautiful.

CHARLES:

What dress? If that skirt were any shorter it would be a belt.

PARKS:

Principal Charles!

VIKKI:

Obviously hurt Ms. Parks, if you'll excuse me.

VIKKI begins to walk away.

CHARLES:

Vikki, don't be like that.

VIKKI turns around.

VIKKI:

Dad, I understand you have to act like a hardass sometimes, but for once in my life could be act like a father.

CHARLES:

Vikki, you stop right there.

VIKKI turns and walks over towards TRAVIS and his friends. CHARLES starts to go after her but is stopped by PARKS.

PARKS:

Charles, I think it would be better if you didn't cause a scene right now. Just let her vent.

CHARLES:

Who the hell do you think you are to tell me how to raise my daughter?

CHARLES violently walks away from PARKS, who simply shakes her head at him. PARKS walks down the steps of the porch onto the walkway. She approaches a police officer.

PARKS:

Excuse me, could you tell me where there's a bathroom around here?

OFFICER 1:

Right over there, behind those cabins. The lighted path is the way to the outhouse.

PARKS:

Outhouse?

OFFICER 1:

Yes, it is an outhouse.

PARKS:

Under her breath Jesus Christ, I've got to get a new job.

Cut to

63.Ext. The Lighted Path to the Outhouse – NIGHT

PARKS walks along the path which is lighted by tiny lights planted into the ground. The opens the door to the outhouse, which has a blonde little girl painted on it. The door creaks when she opens it.

Cut to

64.Int. The Crystal Lake Outhouse – NIGHT

PARKS enters the outhouse and looks around. It is a quiet room, with four stalls and one swinging light above her head.

PARKS:

This is anything but an outhouse.

PARKS walks over to a stall and enters it. She sits on the toilet without lifting up the lid and opens her purse.

PARKS pulls out a pack of cigarettes and slides one out from the carton.

PARKS:

Imitating CHARLES Can't smoke in front of the kids, it's a bad role model.

PARKS puts the cigarettes in her mouth and lights it with a lighter. She inhales deeply before removing the cigarette and blowing out a large puff of smoke.

PARKS:

God this feels good. Peace and quiet. No shitty music, no bratty kids.

There is a creaking sound. PARKS jumps at the sound and drops her cigarette on the floor.

PARKS:

Oh shit.

She leans down to pick it up, and then sighs. PARKS exits the stall and walks over to the door.

PARKS opens the door and looks outside.

PARKS:

Is anyone there? Hello?

PARKS exits the outhouse and looks around. The wind is blowing through the leaves, rustling the leaves. PARKS shakes her head and raises her eyebrows.

PARKS:

Ugh, this place is just doomed. We're all doomed.

PARKS starts walking down the path. She begins to walk towards a large, dense bush which the path curves around. PARKS pays no attention the odd rustling in the bush.

PARKS walks past the bush when a figure runs into her, making her jump. It is GABBY, who is making her way towards the bathroom. PARKS is startled and holder her chest as if she had a heart attack.

GABBY:

Ms. Parks.

PARKS:

Gabby, what are you trying to do? Kill me?

GABBY:

Actually I was headed to the outhouse.

PARKS:

Catching her breath The cop's wrong. It's a regular bathroom.

GABBY smiles and looks at the building.

GABBY:

Oh, I see. Is there a mirror in there?

PARKS:

Yeah. Beat It's a shame you have to treck all the way out here simply to go to the bathroom. This place isn't built for convienience. You think they would have put the dining hall and the bathroom next to each other.

GABBY:

You'd think. Oh well, at least we get the real outdoor experience.

GABBY laughs at her own joke, as PARKS stares at her, ready to leave.

PARKS:

Well, I'll see you around Gabby.

GABBY:

Okay Ms. Parks.

GABBY walks into the outhouse and shuts the door. PARKS watches her enter and then shakes her head.

PARKS:

Let's see, only four more hours left of this dance, of this terrible idea.

PARKS turns around and begins walking down the path. She hears a rustle in the bushes on the side of the path. PARKS stops, shakes her head with annoyance, and looks towards the noise.

PARKS:

That's all that you kids try and do these days, drive the teachers to insanity.

PARKS walks over to the bush and her expression suddenly turns to curiosity. She squints her eyes at someone.

PARKS:

Who are you?

Suddenly someone JASON thrusts a pitchfork into PARKS stomach. PARKS grabs the pitchfork and holds on. Her mouth drops open and she begins to shake.

JASON'S mask appears out of the shadows. JASON lifts the hand to the pitchfork upward, lifting PARKS into the air. PARKS feet are off the ground and her whole body begins to shake furiously.

JASON then swings the pitchfork over his should and launches PARKS flying into the air. PARKS lands behind some bushes. JASON hears a creek in the door and turns his head.

GABBY walks out of the outhouse holding her handbag. She walks down the path with a swagger, as if she's something else. GABBY has a smile on her face.

GABBY:

Oh Travis, our time is so near.

GABBY continues walking down the path, past a pitchfork which is stuck into the ground. GABBY pays no attention to the pitchfork but continues walking.

There is a noise in the bushes. GABBY stops walking and turns toward the noise. She looks around for a brief second, and then shrugs her shoulders. GABBY continues walking down the path, further and further from the pitchfork shoved into the ground.

Cut to

65.Int. Camp Crystal Lake Dining Hall – NIGHT

Inside the dining hall the dance is underway. The DISC JOCKEY is playing dance themed music and is wearing a bright tuxedo with headphones on. Flashy strobe lights are decorating the room with constant movement.

VIKKI and TRACY are seated at a table. They appear board, as they watch their classmates dance. TRACY'S face almost looks disgusted by the way some of them act.

LISA approaches the table with a smile and a small party cup beverage. LISA takes a seat with them.

LISA:

You two are just the two biggest party-poopers here. You'd think that we'd be able to leave that to the band geeks but you two are really bored looking.

TRACY:

Not bored, just ignored.

LISA looks over at TRAVIS and PAUL, who are laughing with the football team in an opposite corner of the room.

LISA:

Oh I see.

LISA takes a sip of whatever is in the cup.

VIKKI:

So are you having fun?

LISA:

Of course! Dwayne's about to break dance over there, do you guys want to come watch?

TRACY:

Is he really?

LISA:

Yeah, there's like this whole competition thing going on over there. It's really crazy.

TRACY looks at VIKKI, who gets up from the table with a burst of energy.

VIKKI:

Why not?

TRAVIS watches as VIKKI walks with TRACY and LISA over to a large group of people. He stops paying attention to his jock friends for a brief second, just watching VIKKI walk. TRAVIS' train of thought is interrupted by GABBY, who presses her hand against his chest.

GABBY:

Hey lover.

GABBY turns her head to see what TRAVIS is looking at.

GABBY:

Oh, I suppose she's being boring.

TRAVIS looks down at GABBY.

TRAVIS:

Not here Gabby.

GABBY:

Oh Travis, don't be a dead fuck. Why do you want to stay with her? Are you afraid to dump the Principal's daughter? She's a bore, whereas I'm the life of this party. Think about it Travis, we're the perfect match for this dance. Without me, the class president, this whole thing would have never been planned, and without you, the star quarterback, this whole thing would have been a disaster. So let's give fate a try, shall we?

TRAVIS:

I can't, not with Vikki here.

GABBY:

Travis, I'm rich, very rich. In fact, I'm possibly the daughter to the wealthiest family in Crystal Lake. I'm used to getting what I want, and now I want you. And if I don't get what I want, I make everyone else's time a living hell.

TRAVIS:

How do you mean?

GABBY:

I'll tell her… everything.

TRAVIS suddenly gets worried. GABBY sticks her tongue out in a sexual way.

TRAVIS:

You wouldn't dare.

GABBY:

I'll tell her about us, I'll even go into details. The Janitor's closet, the boy's bathroom, the girl's locker room – oh yes, don't forget that you were in the girl's locker room. How embarrassing.

TRAVIS:

Don't test me Gabby.

GABBY:

Oh, Travis baby, you're being tested. I just want to see you ace the exam.

TRAVIS:

When?

GABBY:

Right now.

TRAVIS looks up at VIKKI once again, who is laughing along with the rest of the crowd as DWAYNE break dances on the floor. TRAVIS is ashamed, but walks away with GABBY anyway.

PAUL notices him leaving.

Cut to

66.Int. The Casino Night Spot – NIGHT

CHRIS and ZERNER finally have their beers in front of them. They aren't speaking, although ZERNER appears to be trying to start a conversation. SANCHEZ is still sitting next to them, eating a hamburger.

ZERNER breaks the silence between him and CHRIS.

ZERNER:

Can I ask you something?

CHRIS doesn't look at him, but responds sullenly.

CHRIS:

Shoot.

ZERNER:

What's bothering you?

CHRIS doesn't answer, but stares into her mug of beer.

ZERNER:

Chris! What's bothering you? I need to know, is it this place? Is Crystal Lake getting to you?

CHRIS:

I've told you pretty much everything, Greg. I've told you about my whole life, why did you bring me here?

CHRIS looks at ZERNER with a face that is strangely compassionate.

ZERNER:

To help you?

CHRIS:

Or to help your career.

ZERNER freezes, looking at CHRIS, shocked.

CHRIS:

I was nineteen, far too young to experience such a thing.

SANCHEZ discretely listens in on the conversation.

CHRIS:

Can you comprehend what its like for a nineteen year old girl to loose everything that she holds dear to her?

ZERNER:

I try.

CHRIS:

Jason killed my friends, all of them. The people who I cared for the most at the time. My parents and I weren't speaking that much due to a previous incident, and I was at a point in my life where the people who I went to school with were everything. And I led them to their deaths, I took them there, here, to Crystal Lake, to Jason. This place isn't rid of Jason, it just doesn't remember. It can't face the fact.

ZERNER:

Why'd you come back here then, Chris?

CHRIS:

I wanted to prove to myself that I'm strong. I don't like to run from fear, and for twenty three years I've been running. I know that Jason's dead, but my heart just can't believe it.

There is a break. SANCHEZ looks away, down at his food. He has stopped eating and has become somber from the conversation which he eves-dropped on. ZERNER is stunned by CHRIS.

ZERNER:

Just give me the weekend to make all those fears go away.

CHRIS:

Greg, I may be crazy, but I'm not stupid. I know you have other intentions besides my well-being. This whole time I was wondering why you brought me here. You were too good to be true. A great looking doctor who wanted to help me and love me. But I've got to face reality.

CHRIS looks back down at her beer, not drinking it.

CHRIS:

I'm leaving, tomorrow morning, on the first bus out of here. I don't want you to drive me, or my kids, anywhere anymore. When we get back to Boston I'm finding a new doctor.

ZERNER:

Can we still see each other?

CHRIS:

I'd rather not. You don't love me, you love the success that I could bring you.

ZERNER:

But Chris, you need my help, you need to forget.

CHRIS:

I don't want to forget, Greg, because remembering helps me to survive, it helps me to be thankful that I'm here today, with my kids. I value every second of life, and I'll admit I have horrible memories, but I have good ones too. I would never want to forget when my children were born, or any point in their lives.

CHRIS gets up from the stool, reaches into her pocket, and lays a few dollars on the counter next to her beer. ZERNER stays seated.

ZERNER:

You're leaving?

CHRIS nods, and walks out silently.

ZERNER:

Allow me to take you home.

CHRIS:

I'd rather walk right now.

SANCHEZ jumps in finally.

SANCHEZ:

If you need a lift I could give you one.

CHRIS:

Oh, that's okay, I'll just walk.

SANCHEZ:

No, I have to go back to the station soon anyway. See what troubled teens got caught doing illegal business before the dance.

CHRIS:

You're a cop?

SANCHEZ:

The Sheriff of Crystal Lake. Have been since 1995. You don't live here, so let me give you a lift around town.

ZERNER:

Sheriff, she'll be fine, I'll take her.

SANCHEZ gets up from the table.

SANCHEZ:

Lady don't want your help.

CHRIS:

Thank you, Sheriff-

SANCHEZ:

Sanchez. Sheriff Sanchez.

CHRIS:

Thank you Sheriff Sanchez.

ZERNER:

Chris, wait!

SANCHEZ helps CHRIS exit the Night Spot. ZERNER shakes his head.

ZERNER:

Fuck!

Cut to

67.Int. Sanchez's Car – NIGHT

SANCHEZ opens the door to his side of the police car and gets into the car. CHRIS is already sitting in the passenger's seat, rubbing her hands together to warm up.

CHRIS:

It's chilly out here.

SANCHEZ:

I'll turn on the heat when the car gets warmed up. So where are you staying?

CHRIS:

It's right near Camp Crystal Lake. It's actually on the lake.

SANCHEZ:

One of the rental houses?

CHRIS:

Yep, one of the rentals.

SANCHEZ starts up the car. A static noise comes from the police radio.

POLICE RADIO VOICE:

All units come in, all units come in. Over.

SANCHEZ smiles at CHRIS and picks up the radio.

SANCHEZ:

This is Unit CL001, what seems to be the trouble? Over.

POLICE RADIO VOICE:

Sheriff, you're needed down at the O'Brian house. It's 19 Cunningham Road. Over.

SANCHEZ:

Will do, over and out.

SANCHEZ puts the car in reverse.

SANCHEZ:

Looks like we're going to have to make a stop on the way.

CHRIS:

If you need me to leave or something so you can do your police work, then I'll just walk.

SANCHEZ:

I'm not going to let you walk. It's probably just some kids who got caught getting stoned or something, no biggie. I'll just have to give them the slap on the wrist or something.

CHRIS:

Well, if its not too much trouble. It is cold outside so I really do appreciate this.

SANCHEZ:

Anything for Chris Higgins.

SANCHEZ puts the car in drive and drives off, out of the parking lot, onto the road. His sirens begins to blare.

Cut to

68.Int. Crystal Lake Dining Hall – NIGHT

TRACY, LISA, and VIKKI are walking around the dance floor, seemingly looking for someone. DWAYNE pops out from the crowd and begins dancing.

All three girls jump.

LISA:

Reeling from a Scare You ass!

DWAYNE:

Laughing Got ya, didn't I?

TRACY:

Hey, have you seen Paul around here Dwayne?

VIKKI:

Or Travis.

DWAYNE:

Nah, I can't say I have.

VIKKI sees PAUL standing with the football players.

VIKKI:

Hey look, there's Paul.

TRACY:

Where the hell has he been hiding?

VIKKI and TRACY turn to LISA and DWAYNE.

LISA:

Excuse me ladies, but I have to find a mirror with actual light, not these strobe lights.

DWAYNE:

I'll second that.

LISA hits DWAYNE on his chest.

LISA:

I'll be back.

DWAYNE:

You know if you say 'I'll be Back' then you probably won't be back.

LISA just walks away without saying anything off DWAYNE'S remark. VIKKI and TRACY walk over to PAUL.

TRACY:

Paul, baby, where the hell have you been all night?

PAUL:

Hanging with the guys, why?

TRACY:

Are you dating one of them?

PAUL:

No, I'm dating you.

TRACY:

You could have fooled me, because you haven't said two words the whole night.

PAUL:

I've been occupied.

TRACY:

I'll give you something to occupy.

TRACY gives PAUL a sexy stare before she grabs his hand and pulls him away from the area. VIKKI stops them.

VIKKI:

Wait, before you guys go, have you seen Travis around anywhere?

PAUL hesitates before answering.

PAUL:

No, I haven't. I think he ducked into the back before looking for you.

VIKKI smiles with relief.

VIKKI:

Oh, my God, this whole night we've both been looking for each other. Well, I'll go find him, you two have fun.

TRACY:

We'll have a ton of fun, that's for sure.

TRACY winks at VIKKI before pulling PAUL away from the room.

Cut to

69. Ext. The Lighted Path to the Outhouse – NIGHT

The path is still quiet from the last time, nothing seems to have changed. The light inside the outhouse is lit and it shines through the small window near the top of the building.

DWAYNE is walking down the path, creeping along as if ready to scare someone. He walks past the pitchfork, which still stands firmly in the ground. There is a breaking noise in the bushes.

DWAYNE looks back, but pays no attention. He walks up to the door of the outhouse and presses his head against the door.

DWAYNE:

To himself Are you in there?

Watching him from the bushes is an unseen presence.

DWAYNE walks next to a metal pole sticking out of a watering device located near the door of the outhouse. The pole looks worn and rusty. He tries to find something to stand on to look into the bathroom.

DWAYNE:

Oh girl, you're gonna get one hell of a scare tonight.

DWAYNE begins to climb atop the watering device. He has bad balance on the thing.

The figure from the bushes begins to move in closer behind DWAYNE'S back. The figure nearly reaches DWAYNE.

DWAYNE:

Oh shit, I can almost see in…

A hand reaches out and grabs DWAYNE'S leg. DWAYNE screams loudly before falling back. He tries to grab a hold of the pole but misses and breaks it off. DWAYNE lands on his back on the ground.

DWAYNE looks up to see that LISA was his attacker.

LISA:

Boo.

DWAYNE:

You piece of chicken shit! You could have killed me.

LISA smile with victory.

LISA:

Just giving you a taste of your own medicine.

DWAYNE gets up with the help of LISA and brushes off his purple tuxedo.

DWAYNE:

Damn girl, you got this tuxedo all messy. Now I'm going to have to pay a shit load of money to the rental store.

LISA:

Oh relax, it's not that bad.

LISA grabs DWAYNE by the arm and they begin to walk back to down the path away form the dining hall. DWAYNE feels around on his wrist for a cufflink but can't feel one.

DWAYNE:

Lisa, stop.

LISA:

What's the matter Dwayne; forget your balls in the girl's bathroom?

DWAYNE:

No, I dropped my cufflink somewhere.

LISA:

Are you for real?

DWAYNE:

Hey, it's your fault. You're the one who made me fall.

LISA:

Fine, fine, fine, I'll look for this damn cufflink. What is it, silver?

DWAYNE:

Yeah, it looks just like my other cufflink.

LISA:

Well I don't know, maybe they'd be purple to match your tuxedo.

DWAYNE:

Just help me look.

DWAYNE and LISA go back to the water device to look for the cufflink. LISA kneels down on the ground and begins to feel around. DWAYNE looks with his eyes.

DWAYNE:

Find it?

LISA:

No, it would probably be where that metal pole fell.

LISA looks around for the pole.

LISA:

But where'd the pole go?

DWAYNE:

Who cares, let's just find it.

LISA:  
What's the matter, scared?

DWAYNE:

Annoyed.

LISA rolls her eyes as she continues to pat around on the grass. DWAYNE stand up with his arms crossed above her.

LISA, now head level with his groin, shakes her head.

LISA:

What, do you want something?

DWAYNE grins.

DWAYNE:

You know, I was getting kind of hot and sweaty in that dining hall. I don't like being the only hot and sweaty one.

LISA:

Dwayne, you may be sweaty but when you are you certainly are not hot.

DWAYNE:

Ouch.

On that last comment JASON walks up silently behind DWAYNE holding the metal pole. LISA cannot see him because DWAYNE is blocking.

LISA:

Did you hear something?

JASON then takes the metal pole and thrusts it with all of his strength into DWAYNE'S backside. The pole comes out from his groin ferociously. DWAYNE yells with pain.

DWAYNE:

Holy shit, what the fuck!

DWAYNE grabs a hold of the pole with his two hands to try and keep it balanced. He looks down to see that the pole has gone directly into LISA'S mouth. LISA is leaning against the pole, with blood coming from her mouth.

DWAYNE:

Lisa? Lisa? Oh my God, Lisa!

DWAYNE cannot move now with the pole sticking out both ends of his body. He screams in pain as JASON walks around to the front of him, holding his machete. JASON lifts the machete high over his head, and stares at DWAYNE with a dark, empty look.

DWAYNE:

Please, please, please, no, please don't, no!

JASON swings the machete down at DWAYNE.

Cut to

70.Ext. Crystal Lake Camp Grounds

VIKKI is walking around the Crystal Lake camp grounds, looking for TRAVIS.

VIKKI:

Okay Vikki, you are officially the dumbest blonde of the night. What are you doing out here? Looking for Travis?

VIKKI begins to walk back towards the dining hall when she suddenly hears a noise of something crashing. She stops and looks toward the barn house. VIKKI then hears a voice which sounds like TRAVIS.

TRAVIS:

Oh, oh, oh man, oh man.

VIKKI:

Travis?

VIKKI sprints over to the barn house and swings the door open. When she looks inside she sees TRAVIS and GABBY, both naked and under an old, dirty blanket. They are lying on the hay. VIKKI stops, looking ready to cry. VIKKI turns around and runs.

TRAVIS:

Vikki, wait!

TRAVIS grabs the blanket and wraps it around himself. He sprints out after VIKKI and catches her.

TRAVIS:

Vikki, wait a second.

VIKKI:

How can you even begin to explain this one Travis?

TRAVIS:

I can't, I was just-

VIKKI:

What, using me for your image and screwing other girls behind my back?

TRAVIS:

Vikki, I'm really sorry.

VIKKI looks at TRAVIS with teary eyes.

VIKKI:

I can't even believe you. You're pathetic.

TRAVIS:

Vikki, don't cause a scene right now, please. I'll go and get the limo and we can talk about this.

VIKKI:  
There's nothing to talk about Travis. I caught you in the act. I don't want to even see you. As far as I'm concerned we're done.

TRAVIS:

But Vikki, please don't-

VIKKI:

What don't you understand? Are you that dense? We are finished, over. You can go have your many girlfriends now without having to worry about me.

TRAVIS:

Vikki!

VIKKI stops for a second and finally starts to cry. She holds her head in her hands, covering her face.

VIKKI:

And of all the nights for me to find out, I have to find out at the Homecoming dance.

TRAVIS is speechless. VIKKI turns and begins to walk away.

TRAVIS:

Do you want me to get you the limo?

VIKKI:

You guys can have it, I feel like walking.

VIKKI walks away from the camp, into the darkness of the driveway. GABBY comes up behind TRAVIS, with a smile on her face. She has just slipped back into her dress.

GABBY:

So, what's the deal?

TRAVIS looks at VIKKI as she walks away.

GABBY:

She cries, you don't want a cry baby. You want a girl that can roll in the hay.

TRAVIS shakes his head at her.

GABBY:

Oh, by the way, you have hay in your hair.

TRAVIS:

Gabby, we're finished, for real this time.

GABBY:

I knew this would happen, you trying to ditch me once she dumped you. But I don't fall as easily as you.

GABBY begins to walk towards the Dining Hall.

TRAVIS:

What's that suppose to mean?

GABBY:

I hid your clothes. You'll be lucky to find them before the dance is done. Let's just say it will be like finding a tuxedo in a hay stack at night. Sounds easier than it is.

TRAVIS:

You bitch.

TRAVIS begins to run after her.

GABBY sprints towards the dining hall, forcing TRAVIS to stop in his tracks.

GABBY:

You might want to hurry up. I hear it gets really cold out there at night.

GABBY exits into the room. TRAVIS stands, alone, wearing only a blanket.

Cut to

71.Ext. The Path by the Lake – NIGHT

TRACY and PAUL are jogging with each other, laughing, down by the lake. They seem to have gotten somewhat far from the camp site, and are on a path that overlooks the lake. The scene is quiet and still, with only their laughter to be heard.

Cut to

72.Ext. The O'Brian House – NIGHT

Police are crawling all over the O'Brian house. Red and blue lights are flashing from several different police cars. Sanchez's car drives into the driveway.

Cut to

73.Int. Sanchez's Car – NIGHT

SANCHEZ drives into the driveway with CHRIS in the passenger's seat. SANCHEZ suddenly has a concerned face when he sees the amount of police at the scene.

SANCHEZ:

Uh, Ms. Higgins, you best wait here.

CHRIS doesn't say anything but notices the chaotic scene. SANCHEZ exits the car.

Cut to

74.Ext. The O'Brian House – NIGHT

SANCHEZ gets out from the car and shuts the door. He walks over to the Deputy.

DEPUTY:

Evening Sheriff, quite a scene we've got here.

SANCHEZ:

What is it? A robbery, 911 call?

DEPUTY:

Actually a murder.

SANCHEZ stops cold.

SANCHEZ:

A murder?

DEPUTY:

Happened last night. Two kids. One found gutted in that car over there and the other was found inside. You don't want to know what happened to him.

SANCHEZ:

Names?

DEPUTY:

The girl lives here. Candice O'Brian was her name, friends called her Candy. Here parents were suppose to be gone for the weekend but came home early to surprise her before the Homecoming dance. They found Candy and her boyfriend, Mark Kratka, this morning.

SANCHEZ:

Leads?

DEPUTY:

None, none at all. The parents didn't know of anyone who would want to hurt either of them. Candy had a lot of friends and Mark was a football player. His team members reported him missing from the game this afternoon.

SANCHEZ looks over at CHRIS in the car, who is trying to get a glimpse of the scene.

SANCHEZ:

You see that woman over there? That's Chris Higgins.

DEPUTY:

Is that like a supermodel from the 80's or something?

SANCHEZ:

That's a survivor of the 1984 Crystal Lake Massacre. I don't think its wise to have her here.

DEPUTY:

But you can't leave.

SANCHEZ:

You can. Take her back to the Casino bar, her boyfriend's there, use my car.

SANCHEZ hands the DEPUTY the keys.

SANCHEZ:

And say it was robbery, don't utter a word of murder. After you bring her back stop by Camp Crystal Lake. Be sure to tell the officer there to get those kids home immediately.

DEPUTY:

You think this killer will strike again.

SANCHEZ:

I'm positive they have, or will.

DEPUTY:

What if Mayor Miner or Principal Charles gives me shit about canceling the dance.

SANCHEZ:

Tell them they can take it up with me in the morning. I don't have time for them right now. Now go.

The DEPUTY rushes towards the car. SANCHEZ looks at the house, and shakes his head.

SANCHEZ:

You son of a bitch, you've come home.

Cut to

75.Int. Sanchez's Car – NIGHT

The DEPUTY gets in the driver's side of the car.

DEPUTY:

Hello miss, Sheriff Sanchez asked me to take you back to the Casino. Something's come up.

CHRIS:

What?

DEPUTY:

A robbery. Stupid kids probably.

CHRIS looks at his suspiciously.

CHRIS:

Actually, I was wondering if you could possibly take me back to my house.

DEPUTY:

Will do, I just need to make a few stops first. Where do you live?

CHRIS:

Right near Camp Crystal Lake.

DEPUTY:

Perfect.

Cut to

76.Ext. The Road – NIGHT

VIKKI is walking along the road. It is dark and lit only by a few streetlamps. VIKKI has her head down looking at the ground. She is weeping.

VIKKI seems to start limping.

VIKKI:

Why did I walk. Another bad move on my part.

VIKKI notices a lighted house in the distance down a driveway. She lends a weak smile.

Cut to

77.Int. The Rented House – NIGHT

KJ is staring out the window into the driveway. ANNIE is still sitting on the couch.

ANNIE:

I'm so bored right now. When is mom coming home?

KJ:

I'm looking for her car. She's been a while, wouldn't you say?

ANNIE:

Ugh, this is miserable.

KJ backs away from the window.

KJ:

I saw that this place has popcorn, I could cook some if you're hungry.

ANNIE:

I thought we were ordering a pizza.

KJ:

Annie, we don't have a car to go pick it up, and when we called an hour ago they said they don't deliver.

ANNIE:

What kind of pizza place doesn't deliver though?

KJ:

Obviously Crystal Lake Baked.

ANNIE:

Lame, lame, lame.

There is a knock on the door.

ANNIE:

Is it mom?

KJ:

No, there's no car here.

KJ walks over to the front door and opens it. Much to his surprise, VIKKI is standing in the doorway with teary eyes and a faint smile.

VIKKI:

Hi, KJ.

KJ:

Uh, hey Vikki. Is Homecoming done?

VIKKI:

I don't know, and I don't care. It was probably the worst experience of my life.

KJ looks around.

KJ:

What are you doing?

VIKKI:

I had to leave; it's a long humiliating story. Beat And I'm really hungry. Do you have popcorn by chance?

KJ raises his eyebrows and allows VIKKI to come in.

Cut to

78.Ext. The Road – NIGHT

The Mercedes driven by ELIAS is stopped on the side of the road. It is pulled over.

Cut to

79.Int. Elias' Mercedes – NIGHT

ELIAS is sitting in the Mercedes, quiet and focused. His eyes are squinted, as if looking into something.

From behind him bright red lights begin to rotate. It is obviously a cop car pulling up.

ELIAS:

What now?

The police car makes a little beeping noise before coming to a complete stop behind the Mercedes.

Cut to

80.Ext. The Road – NIGHT

The police car stops. A ROADSIDE OFFICER exits the car holding a flashlight.

Cut to

81.Int. The Mercedes – NIGHT

ELIAS rolls down his window as the police officer walks towards the car. The ROADSIDE OFFICER bends down to look into the car, shining a flashlight.

ROADSIDE OFFICER:

Mr. Elias Voorhees?

ELIAS:

Yes.

ROADSIDE OFFICER:

I'm going to need you to come with me.

ELIAS:

Is there a problem?

ROADSIDE OFFICER:

Just come with me please.

ELIAS tightens his jaw before exiting the car. The ROADSIDE OFFICER steps back to allow ELIAS to open the door.

Once out of the car, the ROADSIDE OFFICER takes out a pair of handcuffs. ELIAS stops at the sight of them.

ELIAS:

Are those necessary?

ROADSIDE OFFICER:

I'm going to need you to come with me Mr. Voorhees. Just standard for the handcuffs.

ELIAS turns around and places his hands behind his back. The ROADSIDE OFFICER cuffs him. The ROADSIDE OFFICER walks ELIAS over to the police car and assists him getting in.

Cut to

82.Int. Sanchez's Car – NIGHT

The DEPUTY and CHRIS are still driving in the car. They aren't speaking, but every now and then CHRIS looks over at the DEPUTY, suspicious of him. Someone is on the other end of the radio. It is the voice of the ROADSIDE OFFICER.

ROADSIDE OFFICER:

Sheriff Sanchez.

The DEPUTY picks up the radio and holds it to his mouth.

DEPUTY:

The Sheriff's not in right now, this is Deputy Morgan. Have you got something officer?

ROADSIDE OFFICER:

Yes I do sir. I have Elias Voorhees, just what the doctor asked for.

DEPUTY:

Voorhees is with you right now?

ROADSIDE OFFICER:

He is, ready for questioning.

DEPUTY:

Good news.

CHRIS listens to the phone conversation, shocked at what she's hearing.

DEPUTY:

I'll be right over to get him.

The DEPUTY hangs up the radio in its spot and continues driving.

CHRIS:

Voorhees?

DEPUTY:

Oh, it was nothing. Just some crazy claiming to be Jason Voorhees' father, that's all.

CHRIS:

That wasn't a robbery back there, was it?

DEPUTY:

What?

CHRIS:

There were too many police for a robbery, and the sheriff wouldn't be called down immediately. That was a murder scene.

DEPUTY:

You're just letting your imagination run away with you.

CHRIS:

That may be, but I know what I saw.

The DEPUTY drives into the Casino Night Spot's driveway.

CHRIS:

I thought you were taking me home?

DEPUTY:

I can't, duty calls. I've got a lot of work to do, and Sanchez told me to drop you here.

CHRIS:

But-

DEPUTY:

Can't argue, got to go.

CHRIS shakes her head at the DEPUTY and opens the door. She gets out and slams it shut.

DEPUTY:

Have a nice night Ms. Higgins.

CHRIS says nothing but walks towards the door to the Casino Night Spot.

DEPUTY:

Bitch.

Cut to

83.Int. The Abandoned Camp Site Main Room – NIGHT

TRACY and PAUL open a creaky door which leads into a storage house of an old, abandoned campsite. TRACY is giggling as PAUL leads her in.

TRACY:

What is this place?

PAUL:

This is a place where no one will find us, it's perfect.

TRACY:

Oh my gosh, it's… creepy.

PAUL:

Hey, it's the only place I could find.

TRACY:

You actually went looking for this place.

PAUL:

I did. I was heading for a romantic spot on the lake and well, this is the only one with any privacy.

TRACY goes and sits down on an old, beaten up couch.

TRACY:

What are we going to need privacy for Paul?

PAUL:

I thought we should be as far away from everyone as possible. I want to make you scream!

PAUL begins to crouch towards her, grinning. TRACY rubs her legs together.

TRACY:

Do you really think you can make me scream?

PAUL:

I know I can.

PAUL jumps onto TRACY and they begin to wrestle around on the couch, kissing and making love. TRACY kicks her shoes off and PAUL removes his jacket.

TRACY feels his arms and grabs them as PAUL begins kissing her neck, moving down her body.

TRACY:

Oh my God, Paul.

PAUL says nothing but continues to ravage her.

TRACY:

Oh Paul.

There is a figure watching them from a dusty window covered in spider webs. The figure moves closer to reveal that it is JASON.

TRACY:

Oh Paul, I want this night to last forever.

PAUL stops kissing her and smiles. He looks down at her, biting his lip.

PAUL:

Hold on one second.

TRACY:

Where are you going?

PAUL:

Up stairs for a second to get something.

TRACY:

Be careful. And be quick. You wouldn't want to spoil the mood.

PAUL:

Oh, believe me, this won't spoil the mood.

PAUL walks towards a little door in the back of the building.

Cut to

84.Int. The Abandoned Camp Site Narrow Hall – NIGHT

PAUL opens the door and walks down a very tight, skinny hall. The wood looks old and brittle, as if falling apart. There are stairs at the other end of the hall.

Cut to

85.Int. The Abandoned Camp Site Main Room – NIGHT

TRACY gets up from the couch and walks over to the window. She looks outside to an actual outhouse located near a tree at the top of a hill. The outhouse is made of aluminum and shines from the moonlight.

A figure walks behind the outhouse.

TRACY:

Oh, Paul, what are doing out there?

TRACY walks away from the window.

Cut to

86.Ext. The Abandoned Camp Site – NIGHT

TRACY walks over towards the outhouse to see who was out there. She slowly approaches the outhouse.

TRACY:

Paul, I saw you.

There is no answer.

TRACY:

Paul! What are you going over here?

Once again there is no answer. TRACY walks over to the outhouse and look around the corner. There is nothing, just the wind. TRACY looks out over the lake, which is shining beautifully from the moon.

TRACY:

Oh Paul, this is romantic.

All of a sudden PAUL yells from the second floor of the building. He has opened a window and is holding a Champaign bottle out the window.

PAUL:

Tracy, what are you doing?

TRACY:

I thought I just saw you duck behind here.

PAUL:

What are you talking about? You're seeing things now, there's no need to get you drunk.

TRACY:

Oh no, there still is a need. Hurry down.

PAUL:

I'll be down in a second; I just need to find where I put those two glasses.

TRACY shakes her head as she walks back towards the door. When TRACY walks back over to go into the building the door is wide open, and there are tiny drops of blood on the ground where she steps. TRACY doesn't notice.

Cut to

87.Int. The Abandoned Camp Site Second Floor – NIGHT

PAUL is looking around for the glasses. He is holding the Campaign bottle in his hand.

PAUL:

Don't mess this up Paul, where the hell are the Champaign glasses.

PAUL stops looking for a second and looks around. He notices a cupboard that is slightly open.

PAUL:

Oh, there you are.

PAUL walks over to the cupboard and opens it. Inside the cupboard, by themselves and standing clean among dust and spider webs, are two crystal Champaign glasses. PAUL grins.

PAUL:

Found you.

PAUL turns around and to his surprise JASON is standing right there next to him. JASON towers over him. PAUL shrieks at his sight and drops the Champaign bottle. JASON grabs PAUL by the shoulders.

PAUL scream, but JASON silences him by head butting him so hard that he breaks his nose and several teeth, leaving PAUL'S face bloody and JASON'S hockey mask bloody as well.

PAUL weeps and puts his hands to his face. He cannot see JASON because of all the blood. JASON lets go of PAUL'S shoulder and brings his fist back.

JASON thrusts his fist right through PAUL'S stomach and out his back. JASON'S hand is covered in blood.

PAUL lets out a few weak breaths before he dies, and JASON pulls his hand back through PAUL'S body.

Cut to

88.Int. The Abandoned Camp Site Main Room – NIGHT

TRACY is still waiting downstairs. She seems to have grown bored, and is playing with her shoes. TRACY slams her shoe down on the couch and gets up with annoyance. She begins to walk over towards the door leading into the narrow hall.

TRACY:

Paul! What is taking you so long!

TRACY walks towards the door and almost trips on something lying on the ground. She stops walking to see a manual chainsaw on the ground. The chainsaw is very large and powerful looking.

TRACY:

Jesus Paul, where have you taken me.

TRACY opens the door to the narrow hall.

Cut to

89.Int. The Abandoned Camp Site Narrow Hall – NIGHT

TRACY walks down the narrow hall.

TRACY:

Paul! Did you hear me? Paul why aren't you answering me?

TRACY walks up the stairs.

Cut to

90.Int. The Abandoned Camp Site – NIGHT

TRACY walks to the head of the stairs and sees PAUL on the floor, with a white sheet over him. TRACY smiles and shakes her head.

TRACY:

If the big surprise was to see you naked I'm not impressed.

TRACY walks over to the white sheet and grabs an end. She pulls it off.

TRACY:

And like magic, the boy appeared!

TRACY notices that PAUL is not moving. It is too dark for her to see any wounds.

TRACY:

Paul?

TRACY holds the sheet and notices it's wet. She looks at it and through the window the moonlight shines on the sheet. TRACY sees that it is drenched in blood.

TRACY screams.

TRACY kneels down to PAUL and feels him. She feels around disturbing the body. PAUL'S bloody head suddenly rolls over, staring blankly at TRACY.

TRACY screams again, this time louder and she stumbles backward. TRACY gets up and runs down the stairs.

Cut to

91.Int. The Abandoned Camp Site Narrow Hall – NIGHT

TRACY runs down the stairs. Once at the bottom of the stairs, she grabs her stomach, as if she's about to vomit. TRACY stops screaming and slowly walks down the hall, leaning against the inner wall of the hall.

All of a sudden, in front of her, a chainsaw comes crashing through the outer wall of the hall. TRACY jumps and screams at the chainsaw tears up the old wood. TRACY turns around to run back. The chainsaw is pulled out.

Then the chainsaw comes crashing through the other side, stopping TRACY again. TRACY screams and turns around again, running in the other direction. This time the chainsaw does not get pulled out, but slowly moves along the wood, chasing TRACY through the hall.

TRACY runs down the hall, trying to escape. She comes to the door and turns the knob only to realize that there is something blocking the door. TRACY bangs on the door.

TRACY:

Help me! Someone help me!

The chainsaw comes closer and closer every second. It tears through the wall like it's nothing. TRACY pushes on the door, but it doesn't seem to budge. TRACY and pushes and pushes on the door.

The chainsaw almost reaches TRACY but she gives the door one final blow and escapes to discover a shovel blocking the door. The chainsaw nearly cuts her back. TRACY runs into the other room and grabs a shovel.

The chainsaw is pulled out again. There is a dead silence, with moonlight shining through the line the chainsaw made. Suddenly Jason jumps through the wall, breaking the wood down, and holding his chainsaw in the air.

JASON walks into the other room, holding his chainsaw.

Cut to

92.Int. The Abandoned Camp Site Main Room – NIGHT

JASON walks into the main room and looks around. He has his chainsaw in his hand. TRACY comes up from behind the door and swings the shovel at the back of JASON'S head, hitting him and knocking him over. JASON falls to the ground, unconscious. TRACY steals the chainsaw and throws it into the back. She begins to walk away until JASON grabs her foot. TRACY screams and begins hitting his hand with the shovel. JASON lets go of her foot.

TRACY runs outside. JASON gets up and runs towards the door after her.

Cut to

93.Ext. The Abandoned Camp Site – NIGHT

TRACY runs outside toward the outhouse. She runs to the outhouse and opens it, quickly getting in and locking the door. JASON follows her outside, grabbing his machete from a tree stump which he had left it on.

JASON approaches the outhouse.

Cut to

94.Int. The Abandoned Camp Site Outhouse – NIGHT

TRACY is inside the outhouse, pressed against the back wall. She is shaking frantically. TRACY gathers her composure and looks through a small hole in the door. She doesn't see JASON.

TRACY covers her mouth with her hand. She stands up, breathing hard, trying to think of a way out of this.

Smashing through the aluminum wall comes JASON'S machete. It nearly strikes TRACY in the head, knocking her down against the back of the outhouse. The outhouse shakes. JASON tries to pull out the machete.

Cut to

95.Ext. The Abandoned Camp Site – NIGHT

JASON is rocking the outhouse as he tries to pull the machete out from the wall. He shakes it furiously before finally kicking it with all of his might. The machete comes free but the outhouse looses balance on the hill, and topples over.

The outhouse slides down the hill, flipping on rock and getting crashed up. When it finally stops rolling down the hill it hits a tree, and is penned against that. The front door of the outhouse is facing the ground.

Cut to

96.Int. The Abandoned Camp Site Outhouse – NIGHT

TRACY is just waking up from being briefly knocked out. She holds her head in pain as she wakes up. She notices that the door is under her, so it is facing the ground. TRACY shakes off her head.

Once again, a machete comes crashing through the side of the outhouse, and once again it gets stuck. This time it nearly stabs TRACY in the stomach. TRACY screams as she looks at the machete.

JASON wiggles the machete around so that it nearly hits TRACY. TRACY notices a bend in the metal towards the room, which could provide a perfect escape. TRACY climbs towards the roof and tries to squeeze through. The hole at the top it too small so she tries to make it larger it by beating on the metal.

The machete begins to wiggle loose as JASON holds it. TRACY finally is able to squeeze through the hole. She crawls out, nearly getting all the way before her dress gets caught on a sharp piece of metal sticking out. TRACY pulls her dress, ripping it. JASON gets the machete free.

Cut to

97.Ext. The Path by the River – NIGHT

TRACY runs from the outhouse down to the path towards the river. JASON follows her, running.

TRACY:

Help! Help me, someone help me!

TRACY continues running until she notices a house not far away with several lit lights. Relieved, TRACY sprints towards it. JASON follows.

TRACY runs up to the door of the house and begins slamming on it.

TRACY:

Help, help, please help!

Cut to

98.Int. The Old Man's House Kitchen – NIGHT

Inside the house an OLD MAN is cooking himself some dinner. The water is boiling. He hears TRACY and peeks his head out the window.

The OLD MAN grins when he sees TRACY, who notices him herself.

Cut to

99.Ext. The Old Man's Yard – NIGHT

TRACY:

Please, help.

With every second JASON comes closer and closer. He has started to walk, and is holding his machete at his side.

TRACY:

Help me!

Cut to

100.Int. The Old Man's House Kitchen – NIGHT

OLD MAN:

Be right there, darling.

The OLD MAN tucks his head back in and smiles.

OLD MAN:

Beautiful woman finally comes knocking. Just what dreams are made of? Screaming help too. I must be dreaming. Or it could have been that leaf before.

The OLD MAN walks over to his stove to turn it off. He knocks over some salt.

OLD MAN:

Oh dear, what have I done. Looks up I'll be right there.

The OLD MAN bends down to clean up the salt on the floor.

Cut to

101.Ext. The Old Man's Yard – NIGHT

JASON is getting even closer, now within twenty yards of TRACY. TRACY continues to bang on the door for help.

TRACY:

Hurry, hurry. Oh my God hurry! Please! Hurry! Help me!

Cut to

102.Int. The Old Man's House – NIGHT

The OLD MAN hears her yells as he's cleaning up the salt. He hesitates briefly, before shaking his head and getting up. He pushes off his knees and walks into the next room.

OLD MAN:

I'm coming, I'm coming. Hold your dang horses.

He walks into the front room and sees the door. The OLD MAN walks over to the door.

OLD MAN:

Here I am, here I am.

He begins to unchain the locks on the door, but one seems to be stuck.

TRACY:

Open it!

Cut to

103.Ext. The Old Man's Yard – NIGHT

TRACY is still banging on the door, with JASON now less than seven yards from her.

TRACY:

Jesus Christ, open the door, open it, open the goddamn door!

JASON begins to raise his machete.

Cut to

104.Int. The Old Man's House – NIGHT

The OLD MAN unchains the locks and starts to turn the knob to the door. He pulls the door but its hard to budge.

OLD MAN:

Shit, door's swollen.

The OLD MAN pulls more.

Cut to

105.Ext. The Old Man's Yard – NIGHT

TRACY turns around and looks at JASON, who is now on the porch of the house. He has his machete raised in the air.

TRACY:

Please no, please no. Beat I don't want to die.

Cut to

106.Int. The Old Man's House – NIGHT

The OLD MAN finally pulls the door open. TRACY is at the door with JASON in front of her. JASON swings his machete down at TRACY but she ducks into the house quickly.

TRACY pushes the OLD MAN out of her way and closes the door. The OLD MAN looks at TRACY, very confused.

OLD MAN:

So, are you in some kind of trouble?

TRACY:

Do you have a phone?

OLD MAN:

Yes, why?

TRACY:

Where is it?

OLD MAN:

I only got one, it's upstairs in the office.

TRACY:

Are all the door's locked?

OLD MAN:

Well, I don't believe so. The Greenhouse should still be open. I'll go lock it, it can only lock and open with a special key.

TRACY:

Please do, please do. There's this man, he's after me.

OLD MAN:

Who?

TRACY:

I don't know, but he's crazy – he killed my friend and now he's trying to kill me.

OLD MAN:

Just calm down. I'll go lock the door and you go call the police.

The OLD MAN points up the stairs and TRACY sprints up the stairs. The OLD MAN then exits the room.

Cut to

107.Int. The Greenhouse – NIGHT

The Old Man's Greenhouse is dark and still. The door in back is wide open, and wind is blowing through. The OLD MAN walks into the back and pulls a key out from his pocket.

OLD MAN:

I gotta fix this damn door one of these days. It never shuts.

The OLD MAN pulls the door shut and locks it using a padlock. He then looks at the door.

OLD MAN:

I wonder if she's trying to rob me.

The OLD MAN shrugs as if he doesn't care and walks out of the greenhouse.

Cut to

108.Int. The Old Man's House Second Floor – NIGHT

TRACY is now upstairs with the lights turned on. She is looking for a phone.

TRACY:

Excuse me, mister…

The OLD MAN hears her and yells up.

OLD MAN:

I can't really hear you, can you speak up?

TRACY:

Louder Where exactly is your phone?

OLD MAN:

Upstairs.

TRACY:

But where!

OLD MAN:

In the first room to the left. There should be a window in the room that overlooks the greenhouse directly.

TRACY looks into a room to see that window.

TRACY:

Thank you! To Herself Who has only one phone?

TRACY walks into the room and searches the wall for a switch. She finds one and flicks the light on.

Cut to

109.Int. The Old Man's House Kitchen – NIGHT

The OLD MAN walks back into the kitchen to see that his water is now boiling over the pot, making a mess.

OLD MAN:

Oh no, oh heaven's no.

The OLD MAN turns off the stove and grabs a towel to mop it up. He notices the salt that he spilled on the ground earlier, only now it has a strange mark in it. The OLD MAN bends down closer to see that a large shoeprint is in the salt.

OLD MAN:

That's not my shoe-

From behind the OLD MAN a sliced hand, JASON'S hand, grabs him by the head. JASON quickly carries the OLD MAN to the boiling water pot as he's yelling.

OLD MAN:

Let me go you son of a –

JASON slams the OLD MAN'S face into the boiling water. The OLD MAN'S body struggles for a few moments, flinching and convulsing. His body then goes limp. JASON then looks into the other room towards the stairs.

Cut to

110.Int. The Old Man's House Second Floor – NIGHT

TRACY is still upstairs, when she finally finds the phone in a neat little corner behind a lamp.

TRACY:

What a brilliant place for a phone.

TRACY picks up the phone and begins to dial a number.

Cut to

111.Int. The Old Man's House Basement – NIGHT

JASON'S scarred hand grabs the wires to the fuse box and rips them out of the wall. The lights in the house go out.

Cut to

112.Int. The Old Man's House Second Floor – NIGHT

TRACY just begins to get a ringing noise on the other end of the phone when it suddenly dies, as do the lights. TRACY stands in the dark, shaking, looking around.

TRACY:

Mister…

TRACY exits the room and walks downstairs, slowly. With every step she takes the floor creaks.

TRACY:

Excuse me.

TRACY walks into the kitchen. While walking her foot comes across something. She gives it a little kick, only to realize that it is the OLD MAN'S body. TRACY screams again, and runs back towards the front door. She opens the door and standing outside with his machete is JASON. TRACY slams the door shut and the machete comes crashing through the door.

TRACY runs up the stairs of the house. She runs back into the room with phone and shuts the door. TRACY locks the door and back away. She stands there, shaking. There is a silence in the atmosphere.

JASON then kicks down the door with one strong kick, and comes marching into the room. He takes a swing at TRACY with his machete but she jumps back. TRACY falls backward on the floor. JASON raises his machete and brings it crashing down, but TRACY rolls out of the way.

TRACY gets to her feet and face JASON, who continues swinging at her. TRACY jumps back, away from the swing. She then stands in front of the window, allowing the moonlight to sprinkle in upon her. JASON swings the machete one final time and it grazes her shirt, knocking her backward and forcing her to fall out the window.

TRACY falls out the window and crashes through the roof of the greenhouse.

Cut to

113.Int. The Greenhouse – NIGHT

TRACY lands on a table in the greenhouse, breaking it in half. Plants fall around her and dirty spill on her. TRACY lay unconscious for several seconds.

When TRACY awakes she looks up through the hole in the roof to see that JASON is not in the window anymore. TRACY notices that the greenhouse has two doors, one leading inside the house and one leading into the yard.

TRACY quickly gets up and runs to the door leading into the house to discover that it is not locked. TRACY quickly grabs the padlock from the shelf and puts it on the door, locking it safely. TRACY leans against the door, breathing hard and taking a moment to relax.

JASON'S hand then comes crashing through the door, grabbing TRACY by the throat. TRACY struggles against him but he begins to squeeze harder. TRACY grabs a nearby gardening tool and thrusts it into JASON'S hand. JASON tries not to let go but eventually does.

At her chance of freedom TRACY runs towards the other door and tries to open it. She discovers that it is locked with the padlock.

TRACY:

No!

JASON begins to bang on the door, and the padlock starts to come loose. TRACY notices this and thinks fast.

JASON breaks down the door with his might and enters the room, holding his machete. He looks around the room for TRACY but can not find her. There is no movement. JASON slowly walks around the room, looking for her, ready to kill. He spots a table with a cloth on it and approaches it. He then flips the table so that it, along with all the plants on it, goes flying into the air.

TRACY is not under it. JASON sees another table with a cloth on it and approaches it. He does the same thing by flipping it, but TRACY isn't there.

From behind JASON, holding a plant in a porcelain bowel, TRACY approaches. She smashes the plant over JASON'S head, causing him to fall to the ground. TRACY then grabs another plant from the table and throws it at one of the glass walls of the greenhouse, breaking the glass. TRACY runs to the break and exits the greenhouse.

Cut to

114.Ext. The Old Man's Yard – NIGHT

TRACY is now outside and she notices a fishing boat with a light on down by the lake on a dock. TRACY runs down the hill to the dock.

TRACY:

Hey, hey, help, please help me!

Cut to

115.Ext. The Dock – NIGHT

TRACY enters the dock and sprints down it. She looks onto the boat but doesn't see anyone. She jumps onto the boat and enters the den.

Cut to

116.Int. The Old Man's Boat – NIGHT

TRACY notices that there is no one in the den of the boat, despite the light being on. She quickly shuts off the light and ducks down.

TRACY then hears a loud thumping noise on the boat. It sounds like heavy footsteps. TRACY slowly looks up through the window to see JASON, walking on the deck of the boat, looking for her.

TRACY covers her mouth, trying not to scream, and looks around. She sees a hatch which leads to the lower part of the boat.

TRACY looks back up to see that JASON is gone.

TRACY opens the hatch and ducks down into the bottom of the boat. She climbs down a little ladder into a room filled with ice and dead fish. TRACY slowly closes the hatch and lies against a mountain of ice. She tries not to make a sound, but begins shivering from the cold.

TRACY lays there for a few seconds, but then small drops of blood begin to drop on her. TRACY looks up to see a fish hanging from ceiling, newly gutted.

TRACY'S eyes grow wide, and from the ice a hand comes crashing through and grabs her forehead. The hand pulls TRACY back against the ice, while TRACY screams. A machete then comes slicing through her chest, as if being pushed through the ice.

Cut to

117.Int. The Rented House Living Room – NIGHT

Still inside the rented house, KJ and VIKKI are sitting on the couch. The television is off but VIKKI is holding a bowel of popcorn, throwing kernels into her mouth. She seems to be almost on some sort of high, balancing out her depression. She is smiling and giggling, while KJ sits uncomfortably next to her.

VIKKI:

Did you know that I wasn't going to eat this whole entire day?

KJ:

Uh, no I didn't know that.

VIKKI:

Yep, I didn't want to gain weight so I fit into this dress just perfectly.

KJ:

That's… not healthy.

VIKKI giggles.

VIKKI:

So what are you doing here in Crystal Lake?

KJ:

Visiting.

VIKKI:

No, no, why did you come? We're in the off season here, and you're obviously not camping. Why'd you come?

KJ looks at the ground.

KJ:

To support my mom.

VIKKI:

Is she in like rehab or something?

KJ:

My mom wasn't in rehab, no, close to it though.

VIKKI:

Can I ask?

KJ takes a deep breath and looks at VIKKI, who is chewing away on her food.

VIKKI:

You don't have to tell me.

KJ:

What the hell. I'll make a deal. I'll tell you why I'm here if you tell me why you came over tonight.

VIKKI smiles.

VIKKI:

You first.

KJ:

My mom is a survivor of the 1984 Crystal Lake Killing Spree. She's come back to try and face her fears. It's apart of her whole entire motto.

VIKKI:

Wait, you mean like all that crazy Jason Voorhees stuff. Camp Blood?

KJ:

Yeah, Jason Voorhees.

VIKKI:

Oh my God, that's crazy.

KJ:

Yeah, she saw all of her friends die and everything, it really messed with her head. She went to a hospital just before I was born, they didn't think she was sane anymore. That's where she met my dad.

VIKKI:

Is he here?

KJ:

No, he's off living somewhere else, probably with another woman. He was her doctor, and they fell in love. After two kids and thirteen years of marriage they split. My dad couldn't handle my mom's paranoia, which led to him seeing other women. It's a long, sad, pathetic story really.

VIKKI:

I'm sorry KJ, I really am. That must be tough, living with a mom who went through that.

KJ:

It is, very tough actually, but at the same time it's taught me a lot… to be glad I'm alive.

VIKKI smiles a sympathetic smiles.

KJ:

Now it's your turn. Why did you come over here to see some boy you barely know?

VIKKI looks into the popcorn bowel, her smile has left.

VIKKI:

Homecoming was a disaster as I said. It began with my dad, who must have forgotten how to be a father when my mom died. After that it escalated. I caught my boyfriend cheating on me, and at that point all my friends seemed to have left. I had reason to be there. Not to mention the fact that it was boring as hell.

KJ:

I agree. School dances are so over hyped. Homecoming, Prom, what's the big? It's an excuse for people to get dressed up in fancy dresses and cool tuxedos and then dance badly.

VIKKI:

Oh, you should have seen some of the dancing. They put the 'sic' in 'music.' Since when did a formal dance ever become an excuse to play reject rave music with strobe lights.

KJ:

It's so bad. And the so called 'cool' guys all sit in one corner, laughing up a good time while they're too embarrassed to ask a girl to dance.

VIKKI:

And the slutty girls always walk around the place trying to get someone to ask them to dance.

KJ:

Actually, at the dances, the coolest person is the nerd.

VIKKI:

Definitely not the DJ. And this year's DJ looked like he just crawled out of the ground. His skin is so white that he looks sick.

KJ:

And I bet he dresses like a gangster. Eminem style.

VIKKI:

Good guess.

VIKKI and KJ both laugh, and VIKKI shakes her head.

KJ:

You never answer my whole question.

VIKKI:

What's that?

KJ:

Why'd you come here?

VIKKI:

I don't know, I really don't. I was walking home and then I spotted this house, and remembered you were here. I guess I just feel… safe with you.

KJ and VIKKI stare at each other passionately. KJ then jumps on top of VIKKI and begins kissing her. VIKKI kisses him back, and the two share a moment of intimacy.

ANNIE interrupts.

ANNIE:

KJ.

KJ jumps up and sits up straight. Embarrassed, he rubs his hand through his hair, while VIKKI smiles as she gets back into her seat.

ANNIE:

Mom just called my cell phone. She said that she's stuck at some bar, and she'll be back later. She also said that there's a problem, something about two kids found dead.

VIKKI jumps up and turns to ANNIE.

VIKKI:

What?

ANNIE:

She doesn't know the full story.

VIKKI turns to KJ.

VIKKI:

I have to get back to the dance, the others might be looking for me.

KJ:

Wait, no.

VIKKI gets up from the couch and rushes towards the door. She takes off her corsage and throws it to the ground. KJ gets up and follows her.

KJ:

Wait, Vikki, hold on.

VIKKI stops and turns around.

KJ:

If there's been a murder I don't want you walking alone. Let me come with you.

VIKKI:

But how will you get back here.

KJ:

I assume your limo can take me.

VIKKI hesitates.

VIKKI:

Yeah, I guess I'd feel better with someone. And having you there would make Travis so jealous.

KJ turns to ANNIE.

KJ:

Annie, you stay here. Do you hear me, stay in the house. Do not leave. I'll be back soon.

ANNIE nods and runs back upstairs.

VIKKI:

I know this path, down by the lake, we can take it. It should lead right to Camp Crystal Lake.

KJ turns to VIKKI, who opens the door. They walk out.

Cut to

118.Int. Camp Crystal Lake Dining Hall – NIGHT

The dance is still going on. CHARLES is in the back corner, by himself with his arms crossed. He is shaking his head at the dancing on the floor.

OFFICER 1 comes up to him and whispers something in his ear. CHARLES nods and OFFICER 1 walks away.

CHARLES walks through the crowd over to the DISC JOCKEY. CHARLES taps him on the shoulder and the DISC JOCKEY takes his earphones off. The DISC JOCKEY nods and turns off the music.

A loud sigh and several complaints are thrown from the crowd.

CHARLES:

Excuse me, everyone, I have an announcement to make. The dance is now over. There have been orders that you leave the area of Camp Crystal Lake immediately. If you do not have a ride home one will be made for you. Please exit the campsite in an orderly and clean fashion, but make it quick. Please cancel all post Homecoming activities and go to straight home.

There is a loud 'BOO' when CHARLES steps back and walks away. The DISC JOCKEY turns the lights on to the room, and everyone begins to shuffle towards the door, making up rumors about the sudden cancellation.

Cut to

119.Ext. Camp Crystal Lake – NIGHT

A mass of people begin to exit the dining hall. The sound of dozens of cars starting up can be heard. GABBY walks over to the barn where she and TRAVIS were making love.

GABBY spots TRAVIS still inside, pulling his pants up.

GABBY:

I see you found them. It took you a while.

TRAVIS doesn't answer.

GABBY:

Everyone's been ordered to leave the area. Do you need a ride?

TRAVIS:

I'm waiting for my friends to get back.

GABBY:

Where'd they go?

TRAVIS:

Guess.

GABBY:

Oh, that could take all night. Have fun waiting.

TRAVIS:

Have fun doing nothing.

GABBY smirks before walking away. TRAVIS picks up his shirt from the hay and looks wipes it off.

Cut to

120.Int. The Casino Night Spot – NIGHT

CHRIS is sitting at the opposite end of the bar from where ZERNER is sitting. ZERNER has a smile on his face. He walks over to CHRIS.

ZERNER:

Can we kiss and make up?

CHRIS:

Can you go to hell?

ZERNER:

I'll take it, I will. You're going to need a ride home from Crystal Lake though in the morning.

CHRIS:

How can you be so cruel to someone who cared for you so much?

ZERNER:

Instinct. I have it, you don't. I work to live, love to live. You simply live.

CHRIS:

I should have never trusted you.

ZERNER:

What can I say, life's a bitch.

CHRIS:

And so are you.

ZERNER grabs a seat next to CHRIS.

Cut to

121.Ext. The Road – NIGHT

The ROADSIDE OFFICER still has ELIAS in the back of his car. The DEPUTY pulls up Sanchez's car and comes to stop. He quickly exits the car. The DEPUTY walks over to the ROADSIDE OFFICER'S car.

DEPUTY:

Hello Officer, you've got the catch of the night.

ROADSIDE OFFICER:

Found him parked on the side of the road.

DEPUTY looks at ELIAS.

DEPUTY:

I'll take him.

The ROADSIDE OFFICER gets out of the car and opens the back door. He forces ELIAS out of the back, still with the handcuffs on him. He walks ELIAS to SANCHEZ'S car and puts him in the back seat.

DEPUTY:

That'll be all officer. Have a good one.

ROADSIDE OFFICER:

You too sir.

The ROADSIDE OFFICER gets into his car, starts up the engine, and drives away. The DEPUTY gets into the driver's seat of Sanchez's car.

ELIAS is sitting in the back seat, quiet and motionless.

DEPUTY:

You have a sick idea of spreading a rumor, you know that?

ELIAS doesn't answer.

DEPUTY:

Being quiet won't save you. Sure, you have the right, but that doesn't mean shit. I can make you talk.

ELIAS looks at him through the rearview mirror.

DEPUTY:

So you're the latest one to claim to be Jason's old man, huh? Only you're the first to actually kill someone to prove it. That's just cold.

DEPUTY smiles as he sticks the keys in the engine.

DEPUTY:

And if you are Jason's father, I hope your son is rotting in hell with your wretched wife.

The DEPUTY starts the engine to the car. ELIAS lunges his hands over the DEPUTY'S head and brings them down to his neck. ELIAS pulls back, chocking the DEPUTY. The DEPUTY struggles but eventually passes out.

ELIAS says nothing, but gets out of the running car. ELIAS shuts the door behind him, and walks to the front door. He opens the door, reaches in, and grabs a pair of keys from the DEPUTY'S belt. He un-cuffs himself, and then sprints into the woods.

The DEPUTY doesn't move.

Cut to

122.Ext. The O'Brian House – NIGHT

SANCHEZ is talking on a police radio. He is standing next to a police car while trying to do so. Another officer is beside him, listening in.

SANCHEZ:

Deputy Morgan, Deputy Morgan. Where are you? Over.

SANCHEZ waits for answer but it never comes. SANCHEZ looks at the OFFICER.

SANCHEZ:

I'm going to have to borrow this car. I don't know where the hell he is, but I have to go to Crystal Lake to make sure everything went smoothly.

SANCHEZ gets into the police car and turns it on, then speeds out of the driveway to the O'Brian's house.

Cut to

123.Ext. The Casino Night Club – NIGHT

CHRIS and ZERNER both exit the building. CHRIS seems to be cold as she leaves the club. ZERNER walks over to his station wagon.

ZERNER:

Are you coming?

CHRIS rolls her eyes at him.

CHRIS:

The moment I get home I'm leaving. I've already had the kids pack up our things.

ZERNER:

Whatever.

ZERNER opens the door without having to unlock it.

CHRIS:

You left the car unlocked?

ZERNER:

I guess so, you gonna yell at me?

ZERNER gets in the car and sits down; CHRIS reluctantly gets in the passenger's side.

Cut to

124.Int. Zerner's Station Wagon – NIGHT

ZERNER puts the keys in the ignition and turns the car on. It makes a loud noise when starting up.

Quickly from the behind the seat ELIAS springs up with his pistol. He holds it to ZERNER'S neck threatening. CHRIS is about to scream.

ELIAS:

Scream and I slit his throat.

ZERNER gulps.

ZERNER:

What do you want?

ELIAS:

A ride.

ZERNER:

To where?

ELIAS:

To Camp Crystal Lake.

ZERNER:

Why?

ELIAS:

You're not in the position to ask questions right now. Drive or bleed, your choice.

ZERNER puts the car in reverse and takes his foot off the break.

ELIAS:

That's good, that's real good.

CHRIS looks at ZERNER as ELIAS pulls the gun away from his head. ZERNER drives down the road.

Cut to

125.Int. Camp Crystal Lake Dining Hall – NIGHT

The DISC JOCKEY is inside the dining hall, unpacking his equipment. His stereo and large equipment are all still plugged into the wall.

CHARLES walks up to him.

CHARLES:

Are you almost done here?

DISC JOCKEY:

Yes I am. All the kids gone?

CHARLES:

It appears that way. The officer outside is taking one final look.

The DISC JOCKEY continues packing up but notices that CHARLES doesn't walk away.

DISC JOCKEY:

Is there something you want?

CHARLES:

No, no, I'll just be going now. Have a nice night.

The DISC JOCKEY watches as CHARLES exits the room. Once he is out the DISC JOCKEY takes out a joint and a lighter. He lights the joint and smokes it.

DISC JOCKEY:

God high school dances make you want to get high.

The DISC JOCKEY blows out smoke from his mouth and his nostrils.

From behind him, JASON raises his machete in the air. The DISC JOCKEY puts the joint back in his mouth to smoke. JASON thrusts the machete down into the DISC JOCKEY'S back. The machete slides all the way through his body and slams into the control equipment in front of the DISC JOCKEY.

The DISC JOCKEY begins shaking as electricity shoots out from the equipment, and the lights begin dimming. The joint drops from the DISC JOCKEY'S mouth onto the equipment, creating a small flame in the electricity. The flame then grows into a giant fire, and the lights suddenly go out, as does the electricity.

Cut to

126.Ext. Camp Crystal Lake – NIGHT

CHARLES is walking to his car when he notices that the lights are all out inside the building, and streetlamps lighting the exterior of Camp Crystal Lake go out as well.

Cut to

127.Int. Camp Crystal Lake Dining Hall – NIGHT

The DISC JOCKEY'S fried body lies on the floor equipment.

Cut to

128.Ext. Camp Crystal Lake – NIGHT

CHARLES stops walking when the lights are all out. He starts back towards the dining hall, concerned looking. CHARLES notices the police car parked near the dining hall. He runs over to it.

CHARLES sees two people inside the car, sitting quietly. He walks around to the passenger's seat, which is next the building wall and looks in.

CHARLES looks through the window of the car to see the OFFICER in the driver's seat with his throat slit and JASON in the passenger's seat, staring straight ahead.

JASON quickly turns his head towards CHARLES and slams the door open. CHALRES gets knocked to the ground. CHARLES begins crawling on the ground to get away from JASON but JASON catches him and picks him up by the throat. JASON lifts him from the ground and slams him against the wall.

JASON then takes him machete in the other hand and stabs CHARLES with it right in the gut. CHARLES screams in pain as JASON drags the machete down his gut, cutting him wide open.

Cut to

129.Ext. The Road – NIGHT

KJ and ANNIE are now jogging at a fairly fast pace down the road towards Camp Crystal Lake. VIKKI comes to a stop to catch her breath, and KJ stops with her.

VIKKI:

Oh, why did I get such a tight dress? I feel like I can't breathe.

KJ:

We can stop for a second.

VIKKI:

That would be great, thanks.

VIKKI leans over to catch her breath as KJ approaches her. KJ hesitates to touch her back, but does so anyway. He pats her to help her breath.

KJ:

How do you feel?

VIKKI stands up straight.

VIKKI:

Like some stupid girl in a horror movie who's running around the woods wearing a skin tight dress. How about you?

KJ:

I can't say the same about me, but I can say that I feel okay to start up again.

VIKKI and KJ begin to walk down the street when TRAVIS jumps out at them from the bushes. VIKKI jumps to KJ, screaming. TRAVIS notices how she's touching him.

TRAVIS:

Well, you don't waste much time, now do you Vic.

VIKKI looks at TRAVIS, unpleased.

VIKKI:

What do you want?

TRAVIS:

I came to find you. The dance is over.

VIKKI:

But it's not even eleven o'clock.

TRAVIS:

Apparently something happened and everyone had to leave. I've been looking all over for you.

VIKKI:

Why? I want nothing to do with you.

TRAVIS glares at KJ.

TRAVIS:

Who's the substitute?

KJ:

What?

TRAVIS:

Yeah, that's right. I cheated on her so now she has to cheat on me.

VIKKI:

It's not like that Travis. I didn't cheat on you.

KJ:

Hey buddy I think you better leave.

TRAVIS:

Or else what?

KJ:

What, you think that because you play football you're all tough. I'm from Boston, I could kick your Crystal Lake ass any day. And since its Friday the 13th, I think your luck just ran out.

TRAVIS:

Is that a threat?

VIKKI steps in the middle.

VIKKI:

Okay, let's try to refrain from fighting. Let's find everyone else and go back.

TRAVIS:

I can't find anyone. The limo's gone too.

There's a rustle in the bushes. VIKKI, TRAVIS, and KJ all turn to see what it was.

TRAVIS:

Who's there?

There's no answer, but another rustle. TRAVIS looks to KJ.

TRAVIS:

Hey tough ass Boston boy, go see what it is.

KJ:

What!

VIKKI:

I'll see what it is.

VIKKI angrily walks towards the bushes at full pace. She seems like nothing can stop her now. VIKKI approaches the bushes and looks on the other side. There she sees GABBY, smiling at her with a guilty face. GABBY waves.

VIKKI:

Shit, this really is an unlucky Friday the 13th.

VIKKI walks back to TRAVIS and KJ, while GABBY exits the bushes.

GABBY:

Just thought I'd follow Travis, since I don't have a ride home.

VIKKI:

I wonder why.

TRAVIS:

So you snuck through the bushes.

GABBY:

You always did like to play hide and seek when having sex, didn't you.

VIKKI begins to walk away. KJ follows her.

VIKKI:

I can't take this.

KJ:

Vikki, wait.

TRAVIS steps in his way.

TRAVIS:

Don't even think about it, you don't even know her.

KJ:

And you only know how to hurt her.

GABBY:

Who cares about her? Let's see, two guys and a girl. How about you two fight over me or we could have a really hot three way. I'll let you guys choose.

TRAVIS ignores her and runs after VIKKI. KJ begins to follow but GABBY steps in his way.

GABBY:

Forget Travis, who are you?

KJ:

Not at all interested in you, skeet bag.

GABBY stands back.

GABBY:

Oh, is that your best insult? Vikki's probably using you to get back at Travis.

KJ:

I doubt it, because she doesn't use people. You, however, seem to be very good at it.

KJ runs after VIKKI and TRAVIS, leaving GABBY behind alone. GABBY rolls her eyes and shakes her head and then sprints after them.

Cut to

130.Int. Zerner's Car – NIGHT

ZERNER continues to drive at ELIAS' gunpoint as CHRIS looks on in fear. CHRIS stares at him.

CHRIS:

So who are you?

ELIAS:

I told you I was the one to ask questions, not you.

CHRIS:

What are you going to do, shoot me? You're not the killing kind.

ELIAS:

And how would you know?

CHRIS:

I've met the killing kind.

ELIAS:

Oh have you?

CHRIS glares at him briefly as ZERNER drives in suspense.

ZERNER:

Chris, maybe we don't want to temp the man. I mean he is holding a pistol to my head.

CHRIS:

Oh Greg, don't be such a pussy.

ELIAS:

Chris and Greg huh? You married or divorced?

CHRIS:

Neither.

ELIAS:

Well then you just broke up.

CHRIS frowns as ELIAS, who smiles at her.

ELIAS:

I know the kind.

CHRIS turns and presses her back up against her seat. ELIAS relaxes the gun.

ELIAS:

She was right, you know. I wasn't going to shoot. I've never killed a man before in my life.

CHRIS grins and nods at ZERNER, who just continues driving.

ELIAS:

So what's your last name Chris?

CHRIS:

Like I'd tell you.

ELIAS:

My name is Dr. Elias Voorhees, now I've told you mine, you can tell me yours.

CHRIS:

Voorhees? Oh, right, you're the guy claiming to be Jason's father.

ELIAS:

So I'm already famous around these parts. Hasn't been an hour since people discovered who I am.

CHRIS:

Jason's father left Crystal Lake in the 70's. He hasn't been heard from since.

ELIAS:

Jason's father was a Medical Doctor who was earning way less than he deserved in the 70's. So of course he had to leave.

CHRIS:

If you're Jason's father, why are you here? Did you murder those two kids down the street?

ELIAS:

I told you I've never killed. I'm here because of Jason.

CHRIS:

But Jason died twenty three years ago. He was killed by a twelve year old boy named Tommy Jarvis.

ELIAS:

Yeah, I know the story. But there's a difference between reality and fiction. Jason has always been a little… different. I met his mother Pamela when we were young, too young. I was a sixteen year old brainiac studying to get into Harvard and she was a year younger. We planned to live together for the rest of our days. But then there was an accident.

CHRIS:

Jason.

ELIAS:

On June 13, 1946, Pamela gave birth to first and only child, Jason Voorhees. Under the circumstances, I had to give up my dreams of Harvard and she her dreams, and we had to support the child. The worst part was not the fact that our lives seemed to have stopped, but that Jason was born as what some would call a monster.

CHRIS:

You mean he was deformed?

ELIAS:

Severely deformed on the left side of his skull. His doctors saved his life by injecting steroids into his brain to help balance out the skull, but Jason was always monstrous to the other children. When he was eleven he had no friends at all, so we decided to send him to a camp where Pamela was working – Camp Crystal Lake. In the summer of 1957 Jason drowned in Crystal Lake, but his body was never found.

ZERNER buds into the conversation.

ZERNER:

It is commonly believed among Psychologists that Jason faked his death that day to live in the woods, away from people so that he would have to face the stress that society placed on him. With people he was a monster, as a loner he was human.

ELIAS:

Very good Dr. Greg. Jason did indeed fend for himself in the forest, but his plan seemed to backfire. Rather than helping to humanize him, Jason lost touch with the real world. He found killing small animals a necessity to survive, and murder became an instinct. For the next twenty two years Jason would live on his own, practicing and anticipating his revenge on the world.

CHRIS:

Meanwhile your wife went insane.

ELIAS:

Extremely insane. It doesn't take a Psychology degree to tell you that, does it Greg?

ZERNER rolls his eyes.

ELIAS:

On Jason's birthday the following year, just when the camp had reopened, Pamela murdered two young camp Councilors. The murders went unsolved, and ultimately shut down the camp permanently for twenty one years. Then in 1979-

CHRIS:

It reopened, hoping that the "death curse" was lifted.

ELIAS:

Yes. By that time I had left Pamela to her own insanity, allowing her to mourn the loss of Jason. I was then able to put myself through Medical school without having to support a family, and I eventually got a job in the early 70's at a top secret Government facility. There, I was able to experiment with different chemicals and drugs as we searched for the drug to make the ultimate soldier.

ZERNER:

Ultimate what?

ELIAS:

Ultimate soldier. It was during the Vietnam years, when the Government wanted to create a drug that could take an ordinary person and make them immune to pain and suffering, and only have a desire to kill. Not only that, but it would increase their muscle mass rapidly, and increase their healing time.

CHRIS:

So why you were off trying to make the ultimate soldier your wife was killing young camp Councilors.

ELIAS:

Until Pamela herself was killed. Decapitated by the soul survivor. However, Jason was nearby that night, and saw the revenge that his mother was wreaking for him. Her love for him had killed her, and Jason saw her death. He then made it his mission to get revenge for her on anyone who enters Crystal Lake.

CHRIS:

And from 1979 all the way until July 13, 1984, Jason was slicing his way through the population of Crystal Lake. I know the story, I was there. And as I said, in 1984, he was killed. A machete in the head.

ELIAS:

Yes, he was killed, but his brain activity wasn't dead. Hearing of his rampage, I rushed to retrieve his body. I convinced the Government to allow me to take it to run tests on. He was indeed the prime candidate. So the Government made up a story that he was cremated and then gave the body to my lab. There was such little brain activity that it seemed hopeless, but we tried. It took twenty three years, but my lab was finally able to wake Jason up. We used steroids of all kinds and medication to bring the dead back to life… again.

CHRIS:

You son of a bitch. Do you know what that… that… creature does to people? He killed seven of my friends.

ELIAS:

He was my child, would you allow your child to just die?

Cut to

131.Ext. Camp Crystal Lake – NIGHT

VIKKI, KJ, TRAVIS, and GABBY have all arrived back at Camp Crystal Lake. Immediately VIKKI sees CHARLES, who is propped up against a tree.

VIKKI runs over to him.

VIKKI:

Dad, daddy! What is going on? Why did you send everyone home?

VIKKI reaches CHARLES and touches him gentle. He doesn't movie, but as she was around the tree she notices blood flowing into the ground. VIKKI looks up to see that her father has a police crowbar going straight through him into the tree, and that he has a huge gash in his chest. VIKKI slowly backs up, holding her mouth and trying not to scream.

KJ sees her and runs to her.

KJ:

Vikki, what's wrong, what it is?

VIKKI:

He's dead…

KJ:

What?

VIKKI turns her head and buries it in KJ'S chest. KJ wraps his arms around her carefully, protecting her. TRAVIS, annoyed by his gesture, walks over to them and pulls VIKKI off.

TRAVIS:

My God, Vic, I'm so sorry.

VIKKI looks up.

VIKKI:

We have to call the police.

GABBY approaches them slowly.

GABBY:

I think there's a phone inside. I'll go call someone.

VIKKI:

Someone should go with you. It's not safe.

KJ:

I think it's best if we don't split up. There's obviously some lunatic on the loose.

GABBY:

I agree. Shall we?

Cut to

132.Int. Camp Crystal Lake Dining Hall – NIGHT

GABBY leads VIKKI, KJ, and TRAVIS into the dining hall. GABBY reaches her hand around the side and feels the wall until she finds a switch. She flicks it but the lights don't go on. GABBY backs up.

GABBY:

The lights are out.

VIKKI:

I think we should just leave. I really don't like the looks of this.

TRAVIS:

If you want I'll wait out here with you.

VIKKI:

Actually I think we all should just leave this place. How stupid would it be to stay around when we know that someone was just killed here?

VIKKI turns to KJ.

VIKKI:

We could go back to your house, get help from your mom.

TRAVIS:

Vic, you're in shock. I'll wait out here with you and those two can go in the house.

GABBY:

Travis, why the hell did I ever sleep with you? You're such a prick, sending us into the house. Can't you just be an actual man rather than a pussy football star?

VIKKI:

Enough, please, enough. I don't know how much more I can take.

GABBY:

Well, I'll go in the house, only if one of the men comes with me.

GABBY looks at TRAVIS with an angry face before turning to KJ with a gentle face.

GABBY:

You look like you can handle yourself. And you are the only "man" here.

KJ rolls his eyes and gentle lays his hand on VIKKI.

KJ:

I'll be right back.

VIKKI moves her hand up onto his and gives a faint smile through her tears. KJ and GABBY then walk into the cabin.

GABBY:

There's a phone upstairs.

Cut to

133.Int. Camp Crystal Lake Dining Hall Second Floor – NIGHT

GABBY and KJ approach the top of the stairs.

GABBY:

What a bad day Vikki's had, hasn't she?

KJ:

Where'd you say the phone was?

GABBY:

Over there, in that office area.

KJ sees a large desk with a typewriter on it from the light shining through the window.

GABBY:

So, your first visit to Crystal Lake has been interesting, hasn't it? Hey, it's what we're known for, serial killers.

KJ suddenly frowns as if he senses something. VIKKI walks over to the phone and stands next to the window so she can see the numbers in some light.

KJ:

Gabby, there's something strange.

GABBY:

What?

KJ:

There's someone else in this room.

GABBY:

What are you talking about? It's just you and me.

KJ slowly begins to walk towards GABBY, who is starting to dial the number.

GABBY:

It's kind of hard to dial the number with such limited light.

KJ:

Gabby I think we should get out of here.

GABBY:

Hold up, I just got the operator.

KJ:

There's someone else in here.

GABBY places the phone up to her ear.

KJ:

There's someone else in the room.

KJ spots a small glimmer of light coming from the darkness next to the window.

KJ:

Gabby, there's someone else in the fucking room!

From where the glimmer was, JASON leaps out with his machete, and with one good swing he lands the blade directly in GABBY'S face, knocking her backwards and out of the window.

Cut to

134.Ext. Camp Crystal Lake – NIGHT

VIKKI and TRAVIS, who are sitting by a tree near the front of the Dining Hall, are startled when GABBY'S body comes crashing through the window and lands on the ground, next to them. VIKKI screams and jumps into TRAVIS' arms.

Cut to

135.Int. Camp Crystal Lake Dining Hall Second Floor – NIGHT

KJ watches as JASON looks out the window and then turns to him. KJ quickly runs down the steps.

Cut to

136.Ext. Camp Crystal Lake – NIGHT

VIKKI is frantically screaming for KJ as TRAVIS tries to calm her down and run.

VIKKI:

KJ, KJ! Answer me!

KJ comes sprinting through the front door of the dining hall.

KJ:

Let's get out of here, quick!

KJ grabs VIKKI by the arm and they run up the driveway. TRAVIS follows.

JASON walks outside and reaches down to rip his machete out from GABBY'S face.

KJ, VIKKI, and TRAVIS continue to run up the driveway when they see headlights coming their way. They all run towards the headlights, screaming and jumping.

VIKKI, TRAVIS, KJ:

Help, help us, help!

The car comes to a sudden stop and leaves the headlights on. SANCHEZ jumps out of the driver's seat and runs over to the kids. VIKKI jogs to him with relief.

VIKKI:

Mr. Sanchez, you have to help us.

SANCHEZ:

Vikki, Vikki. What is it? What happened?

TRAVIS:

There's this guy, he's killing them, he's killing them all.

SANCHEZ:

Okay, okay, get in the car.

They all rush to the car. SANCHEZ gets in the driver's seat while VIKKI gets in the passenger's side. TRAVIS and KJ both get into the back seat.

Cut to

137.Int. Police Car – NIGHT

SANCHEZ turns to VIKKI.

SANCHEZ:

Now you kids have to tell me exactly what the hell happened.

VIKKI:

He killed Gabby and my father and…

VIKKI breaks down into tears.

TRAVIS:

There's this fucking guy wearing a hockey mask and carrying a machete.

KJ:

It's Jason Voorhees… or someone who's acting under his motive.

SANCHEZ:

I take it you're Ms. Higgins' son.

KJ:

Look, if this is Jason then we have to get out of here.

SANCHEZ:

I can't leave this son of a bitch. He killed my little girls back in '84. He's gonna pay.

SANCHEZ reaches down to the radio to call for help when VIKKI sees a large shadow cast over his window. VIKKI once again screams through her tears.

VIKKI:

Look out!

JASON'S hand comes crashing through the window and grabs SANCHEZ by the neck. JASON'S other hand then comes through the window and grabs his collar. JASON pulls him out of the car while the kids scream.

Cut to

138.Ext. Camp Crystal Lake – NIGHT

JASON pulls SANCHEZ'S whole body out of the car and holds him up in the air by his head. SANCHEZ'S feet are off the ground. JASON begins to press both hands against SANCHEZ'S skull, squeezing it and crushing it. SANCHEZ begins to shake uncontrollably for several second as blood shoots out from his eyes, mouth, nose, and ears. SANCHEZ then stops shaking and JASON drops him to the ground.

JASON then looks into the car.

Cut to

139.Int. The Police Car – NIGHT

JASON watches at the three terrified teens sit in the car screaming. Soon after JASON ducks to the ground and they can't see him anymore. They stop screaming and listen carefully.

Then JASON'S machete comes crashing through the back door on KJ'S side, hitting his leg and going straight through. KJ yells in pain.

JASON pulls the machete out from the car and stands up. He then thrusts the machete through KJ'S side of the car, just missing KJ'S face. VIKKI lunges into the back seat and pulls KJ forward, trying to get him into the front.

In fear, TRAVIS opens the door to the car and runs away from the car at a fully sprint. JASON sees him running and follows.

VIKKI and KJ turn their heads to look out the back window of the car as JASON stalks TRAVIS.

Cut to

140.Ext. Camp Crystal Lake Forest – NIGHT

TRAVIS is running at a full pace as JASON walks at a fast steady pace behind him. TRAVIS runs into the nearby woods and wrestles his way through some bushes. TRAVIS comes to a stop and looks behind to see that JASON is not in view. TRAVIS turns around and begins to run.

From behind a tree JASON'S arm comes out, clothes-lining TRAVIS in the neck and knocking him to the ground. TRAVIS lies on the ground for a second, dazed, as JASON looks down at his body. When TRAVIS regains his sense he sees JASON'S mask staring down at him and comes up with a full swing to the gut. The punch doesn't faze JASON.

JASON then grabs TRAVIS by the shirt and by the pants and lifts him up over his head. Holding him high in the air, JASON displays his victim. Then, JASON slams TRAVIS' body down onto his knee, breaking TRAVIS' back. A crack is heard.

Paralyzed, TRAVIS yells in agony as JASON lifts him up by the collar one more time. JASON holds him in the air, face to face, and looks him in his terrified eyes. JASON then pulls up his other fist and punches TRAVIS in the face.

TRAVIS looks confused for a quick second as JASON hits him again. On the second hit TRAVIS is knocked out. JASON then hits him again, splitting his face open. The final punch ends with a loud crack, as if TRAVIS' skull wash bashed in.

Cut to

141.Ext. Camp Crystal Lake Driveway – NIGHT

JASON walks out of the forest with TRAVIS' body around his shoulder and a machete in his hand. Quickly, the police car comes roaring and hits JASON, sending him over the hood and roof and onto the ground.

The police car comes to a stop.

Cut to

142.Int. The Police Car – NIGHT

VIKKI is in the driver's seat and KJ is in the passenger's seat, holding his leg in agony. VIKKI puts the car in reverse and looks back out the window at JASON, who is on the ground next to TRAVIS' body.

KJ:

What are you doing?

VIKKI:

Killing Jason for good.

VIKKI steps on the gas and speeds backwards.

Cut to

142.Ext. Camp Crystal Lake Driveway – NIGHT

JASON stands up quickly as the car comes rushing at him. He appears as if he wasn't hurt in the least. He picks up his machete and throws it has the car. The machete gets lodged into the tire, sending the car off course and into the Dining Hall; the car flips over once and crashes against the wall of the dining hall.

JASON begins to walk over.

From inside the car, VIKKI tries to wake KJ up, but he is knocked out from the crash. VIKKI sees JASON coming and crawls out of the window. She gets to her feet and runs up the driveway, screaming. JASON follows.

Cut to

143.Ext. The Street – NIGHT

VIKKI runs down the street, screaming. She can't run that fast due to her high heeled shoes. VIKKI stops for a second and takes off her shoes, throwing them in the road, before continuing to run. Moments later Jason walks past the shoes.

Cut to

144.Ext. The Rented House – NIGHT

VIKKI runs up the driveway to the rented house. She is screaming. Not far behind her is JASON, carrying the machete menacingly.

VIKKI:

Help! Annie help me!

VIKKI runs up to the front door and tries to open it but it is locked. She bangs on it.

VIKKI:

Annie!

Cut to

145.Int. The Rented House Second Floor – NIGHT

ANNIE is sitting in a room, listening to music and talking to her friend on the phone.

ANNIE:

On the phone I can't get over her. I hope someone puts gum in her hair or something on Monday.

Cut to

146.Ext. The Rented House – NIGHT

VIKKI:

Annie! Open the goddamn door. Annie its Vikki, KJ's friend! Annie!

VIKKI looks over her shoulder to see JASON coming closer and closer. VIKKI picks up a rock and looks up to the second story of the house, where she sees a room with a light on just above the door.

VIKKI chucks the rock up at the window, breaking it.

Cut to

147.Int. The Rented House Second Floor – NIGHT

ANNIE sees the rock come crashing through the window and land on the floor. She jumps back.

ANNIE:

Uh, Suz, I'll have to call you back.

ANNIE walks over to the window and looks out. VIKKI is standing there, and JASON is just about thirty feet behind her. JASON is raising his machete in the air. VIKKI doesn't even have to speak before ANNIE runs away from the window.

Cut to

148.Ext. The Rented House – NIGHT

VIKKI:

Please, Annie, come back!

JASON is relatively close to her when ANNIE opens the door quickly, pulling VIKKI into the house. They shut and lock the door.

Cut to

149.Int. The Rented House First Floor – NIGHT

VIKKI kneels down to ANNIE, who is shaken and confused. VIKKI tries to speak calmly.

VIKKI:

Are all the doors locked?

ANNIE:

I don't know, I believe so.

VIKKI:

Do you have your cell phone?

ANNIE:

Upstairs.

VIKKI:

Let's go up there and lock the door.

VIKKI and ANNIE rush up the stairs.

Cut to

150.Int. The Rented House Second Floor – NIGHT

ANNIE and VIKKI run into the room that ANNIE was in before. The music is still playing. ANNIE runs and grabs her cell phone from the floor.

VIKKI:

Dial 911.

ANNIE picks up the phone near the window and begins to dial the number. As she begins to dial JASON breaks down the door in a fit of fury and swings the axe at both of them. ANNIE jumps and drops the phone on the ground. JASON swings the axe at her but misses and hits the cell phone, breaking it in half.

ANNIE ducks and runs under the bed. VIKKI tries to escape but JASON swings the axe at her, just missing her stomach. She stumbles backwards out the window and lands on her back. She is unconscious.

ANNIE lies quietly under the bed, watching JASON'S feet across the room. JASON walks next to the bed and stops. ANNIE covers her mouth to keep from screaming. JASON then flips the mattress of the bed up, revealing ANNIE through several support beams and springs. JASON begins to chop his way through the boards and springs at her.

ANNIE:

Stop, what are you doing? Why?

Cut to

151.Int. Zerner's Car – NIGHT

CHRIS, ZERNER, and ELIAS are still driving along the road to Crystal Lake when the see VIKKI'S shoes in the headlights. CHRIS orders him to stop the car.

CHRIS:

Stop the car!

ELIAS:

Excuse me.

CHRIS turns to him coldly.

CHRIS:

You're excused.

ZERNER pulls the car to a stop as CHRIS leaps out of the car. ZERNER and ELIAS watch as she runs over to the two black high heeled shoes on the ground. CHRIS picks one up to discover it is covered in blood. She runs back to the car.

CHRIS:

Go back to the house.

ZERNER:

But, he said.

CHRIS:

I don't give a flying fuck what he said. Go back to the house now!

ELIAS:

I'm still the one with the gun, Chris.

CHRIS:

So shoot me.

ELIAS looks at her blankly as she turns to ZERNER.

CHRIS:

I have to make sure that KJ and Annie are alright.

ELIAS:

What are you doing?

CHRIS:

Saving my children, Mr. Voorhees. You should know the kind of person that does that.

ZERNER swings the car around as it speeds back the way it came.

Cut to

152.Ext. The Rented House – NIGHT

VIKKI begins to slowly regain consciousness as she hears ANNIE'S screams coming from upstairs.

Cut to

153.Int. The Rented House Second Floor – NIGHT

JASON breaks through the springs and boards with the axe. He swings the axe down at ANNIE, barely missing her. ANNIE rolls out from under the bed and runs to the door. She exits the room and sprints down the stairs. JASON follows.

ANNIE runs into VIKKI, who has opened the front door. The look up the stairs to see that JASON is no longer following. VIKKI and ANNIE turn and run out the front door.

Cut to

154.Ext. The Rented House – NIGHT

VIKKI and ANNIE exit the house where JASON leaps from the second story window that was broken with a rock. He lands in front of them. They stop in their tracks as he gets up and once again swings the axe at them.

Cut to

155.Int. Zerner's Car – NIGHT

CHRIS, ZERNER, and ELIAS see JASON attacking ANNIE and VIKKI. CHRIS orders ZERNER to try and hit JASON with the car.

CHRIS:

Greg, hit that son of a bitch.

ZERNER follows her command and accelerates the gas, zooming towards JASON. JASON looks at the incoming car.

ELIAS:

What are you doing?

ELIAS holds a gun up to ZERNER'S head.

ELIAS:

Don't you dare hit him.

CHRIS:

Hit him Greg, don't listen.

ELIAS:

Be smart, Dr. Greg. Don't hit him.

CHRIS quickly turns and grabs the gun from ELIAS. CHRIS and ELIAS fight over the gun, and a bullet is shot off. In the car, shattering the windshield. A piece of glass flies back and scratches ZERNER'S face, forcing him to loose control of the car. The car almost hits JASON, making JASON jump out of the way. The car drives directly into the house, crashing through the wall.

VIKKI grabs ANNIE and they run to the car. CHRIS exits the car with an injured ZERNER around her shoulder.

CHRIS:

Annie, baby, are you alright?

ANNIE nods.

CHRIS:

Where's KJ?

VIKKI:

He's back at Camp Crystal Lake.

CHRIS:

Is he…

VIKKI:

He's alive, just knocked out.

CHRIS:

Which is the quickest way to Camp Crystal Lake?

VIKKI:

Down by the lake I'd imagine. There's a path.

CHRIS runs down to the pathway, getting ZERNER off her shoulder. ZERNER follows, limping, as do VIKKI and ANNIE.

From inside the car, ELIAS slowly wakes up from being briefly knocked out. He looks out the shattered window to see JASON walking by. JASON stops and looks at him, and then continues walking.

ELIAS:

Kill them Jason, kill them. Mommy and Daddy say kill them!

Cut to

156.Ext. The Path by the Lake – NIGHT

CHRIS, VIKKI, ANNIE, and ZERNER all run down by the path. CHRIS sees a sign that reads…

NOW ENTERING CAMP CRYSTAL LAKE

Trespassing is Prohibited.

They all continue towards the camp.

Cut to

157.Ext. Camp Crystal Lake – NIGHT

They enter the camp site. It is still dark.

CHRIS:

Where's KJ?

VIKKI:

Up there, in the parking lot. There's a flipped over car. He's in it.

CHRIS:

Greg, how's your leg?

GREG:

I think I need to rest.

CHRIS:

Alright, you two girls stay here with him. I'll go get KJ.

CHRIS runs up to the driveway leading to the Camp.

VIKKI and ANNIE help ZERNER to sit down.

ZERNER:

Thank you, thank you.

There is a noise of a stick cracking. VIKKI quickly turns to see what it is.

Cut to

158.Ext. Camp Crystal Lake Parking Lot – NIGHT

CHRIS approaches the police car to see KJ inside. He is now awake, breathing heavily. CHRIS kneels down.

CHRIS:

KJ, its mom. Can you hear me?

KJ:

Mom? Thank God it's you.

CHRIS:

How badly are you hurt.

KJ:

Not that bad. I just thought it would be safer in her than out there.

CHRIS:

I'll help you out.

CHRIS lends out her hand, which KJ grabs a hold of.

Cut to

159.Ext. Camp Crystal Lake Near the Lake – NIGHT

ANNIE and VIKKI stand up. There is a heavy breathing.

ZERNER:

Girls, keep down.

VIKKI:

Don't you hear that? Someone's here.

ZERNER stands up, painfully. He grabs the wound on his thigh and looks at them.

ZERNER:

Maybe we should go up to Chris.

VIKKI and ANNIE scream at the sight of JASON, who suddenly appears from behind ZERNER with a chainsaw.

VIKKI:

Behind you!

Cut to

160.Ext. Camp Crystal Lake Parking Lot – NIGHT

KJ finally gets out of the car when they hear VIKKI scream. They look to the river.

Cut to

161.Ext. Camp Crystal Lake By the Lake – NIGHT

JASON turns on the chainsaw. ZERNER turns around only to have the chainsaw thrust into his gut. ZERNER begins shaking and blood pours out of his mouth. JASON then lifts ZERNER into the air, holding him up with the chainsaw. VIKKI and ANNIE scream as they are sprayed with blood and tissue. ZERNER shakes uncontrollably. The chainsaw from the chainsaw rip apart his guy region, spraying everything in all direction. JASON'S mask gets covered in blood, turning it red.

VIKKI grabs ANNIE and they run towards the parking lot. JASON drops ZERNER and the chainsaw and continues walking.

Cut to

162.Ext. Camp Crystal Lake Parking Lot – NIGHT

CHRIS and KJ wait for VIKKI and ANNIE to reach them, as JASON begins to pick up the pace on the two girls. CHRIS then feels something press against the back of her head, and then she hears a click noise. A voice comes.

ELIAS:

Hello Chris.

KJ:

Mom!

CHRIS:

It's okay, KJ, this man would never kill a soul.

ELIAS:

Oh dear, Chris is this your son? Well there's my son.

CHRIS looks at JASON who is hunting down VIKKI and ANNIE.

ELIAS:

I'll let your boy here run with the girls if you leave my son be.

CHRIS:

Why are you doing this? Can't you see what your son is doing?

ELIAS:

Yes, my dear, I can. But he is my child, my only child, and if I allow him to die I am the worst father alive.

VIKKI and ANNIE reach KJ and CHRIS. They stop, seeing ELIAS holding a gun to CHRIS' head. JASON continues to stalk them.

CHRIS:

KJ, get the girls and get out here.

KJ:

But mom!

CHRIS:

Do as I say.

KJ slowly backs away and over to the girls. They begin to run when VIKKI picks up a rock and throws it at ELIAS' head, hitting him and giving CHRIS a chance to escape.

CHRIS:

Keep running!

KJ, ANNIE, and VIKKI run further into the camp. CHRIS goes a different path down towards the lake. JASON continues to follow the teens as ELIAS shakes off his wound and chases CHRIS.

CHRIS:

Jason, over here!

ELIAS fires the gun at CHRIS. He misses but startles her. CHRIS runs away to the lake. JASON pays no attention to her but continues to follow the teens.

KJ spots a cabin down a path. He points to it.

KJ:

This way!

VIKKI and ANNIE follow KJ to the cabin. They arrive at the small cabin and open the door.

Cut to

163.Int. Camp Crystal Lake Cabin – NIGHT

Once inside the cabin they shut the door and barricade it with a bulky looking shelf. VIKKI and ANNIE turn to KJ.

KJ:

Go, hide.

VIKKI:

What about you?

KJ:

Just hide!

VIKKI and ANNIE run into the back room, which appears to be a storage room. They shut the door tightly and crouch in a corner, huddling close to each other. KJ runs behind a bookshelf and hides.

JASON begins hitting the door with his axe, ripping apart the mildewed wood. KJ watches in fear. JASON breaks through the door and stalks throughout the room. He begins turning bed mattresses over. He then notices the door to the storage room and walks over to it. He turns the knob to discover it's locked.

With a push of might, KJ knocks over the bookshelf so that it lands on JASON'S back, knocking him and sending him through the wooden door. VIKKI and ANNIE scream when his head comes crashing through the door. JASON lies still on the floor, unable to move. KJ grabs his axe from the floor.

KJ:

Come on, let's get out of here.

VIKKI and ANNIE stand up and approach the doorway. VIKKI carefully begins to step over JASON. She accidentally slides her foot against his hand. It moves quickly but then stops. KJ helps her over the body and once she's over he motions for ANNIE to come. ANNIE follows the same suit that VIKKI did, only this time making sure not to touch his hand. JASON then springs back to life and grabs ANNIE'S ankle. ANNIE screams, and KJ instinctively swings the axe down at JASON'S shoulder, hitting it. The blade sticks in the shoulder, and JASON releases ANNIE'S foot.

KJ, ANNIE, and VIKKI all run out of the building. JASON tries to push the shelf off. Once outside, KJ notices his mom still being shot at.

Cut to

164.Ext. Camp Crystal Lake By the Lake – NIGHT

CHRIS is down by the lake. ELIAS fires one final shot before he runs out of bullets. He throws the gun and pulls a dagger out from his pocket. He stalks CHRIS with the dagger. CHRIS trips over a log and falls to the ground. ELIAS catches her and stands over her.

ELIAS:

Like I said Chris, like father like son.

ELIAS raises the dagger in the air and looks down at CHRIS, ready to strike. KJ comes charging down at a full sprint towards ELIAS, with the axe raised in the air. KJ swings the axe at ELIAS, hitting his hand with the knife and cutting it clean off. ELIAS falls to the ground in pain.

CHRIS:

KJ!

VIKKI and ANNIE run down to the lake. KJ grabs his injured leg and falls next to his mother. ANNIE then kneels down next to them. CHRIS hugs her two children. The moment of happiness is destroyed through when VIKKI screams.

VIKKI:

You can't be alive!

JASON approaches them with his machete now at hand and swings it at them. VIKKI stumbles back and falls to the ground. CHRIS gets to her feet and runs towards the dock. VIKKI and ANNIE get up and run towards the dining hall. KJ stays to help his mother. JASON kicks KJ in the face, knocking him out. JASON then raises the machete into the air, and is about to send it striking down onto KJ. CHRIS calls out.

CHRIS:

Jason!

JASON stops and looks at CHRIS.

CHRIS:

Jason, don't you remember. It's me you want Jason, it's me.

JASON looks back down at KJ, and is about to strike KJ.

CHRIS:

Jason! Do you hear me you monster? You creep, you animal?

She now has his attention.

CHRIS:

That's right, you deformed freak. Nobody ever loved you but mommy and daddy, and look at them now. They're freaks too. Everyone hates the Voorhees family. You're a true monster, a creature straight from hell. People always picked on you because you were such an easy target, and you still are Jason.

JASON lowers the machete and looks at CHRIS, who is on the dock.

CHRIS:

All these years I was afraid you, afraid of a monster so ugly it was inhuman. Now, Jason, I'm no longer afraid. You're nothing to me Jason; you were never anything to anyone. The world hates you and your family.

JASON then begins to walk towards CHRIS at a fast pace, with his machete at hand. He walks onto the dock as CHRIS backs up to the end of the dock.

CHRIS:

That's right Jason, that's right.

KJ suddenly regains consciousness. He rolls his head over to see JASON getting too close to his mother. KJ grabs the axe.

JASON walks about five feet from CHRIS and stops. CHRIS smiles at him.

CHRIS:

It's over Jason. Thank God it's over.

JASON stares at CHRIS and tilts his head to one side, as if one spark of humanity inside of him has been reached. From behind him there's a voice.

KJ:

Hey Jason, tell your mother hello.

Once JASON turns around KJ swings the axe at JASON'S neck, driving it straight into his skin. Blood squirts out from the wound. KJ lets go of the axe and leaves it in his neck. JASON reaches out his hands at KJ, as KJ backs up.

CHRIS:

No, no, you can't be alive, you can't.

KJ backs up slowly as JASON keeps walking, looking like a zombie. JASON drops the machete but continues walking. JASON soon enough comes to a stop and drops his arms. He stumbles over the side of the dock and falls into the water. A loud splash is follows by silence as JASON'S body drifts on the water of Crystal Lake.

CHRIS walks over to KJ and rubs his back. They both look at JASON'S body floating in the water.

ELIAS then comes charging at them with his knife in his hand. He is screaming.

ELIAS:

You son of a bitch! You killed him.

CHRIS quickly picks up the machete and swings it at ELIAS, slicing him in the side. ELIAS drops the knife as blood shoots out of his wound and his mouth. ELIAS falls to his knees. CHRIS lifts up the machete into the air and swings it down at ELIAS' neck, cutting his head straight off his shoulders. ELIAS' head rolls into the water, as his body falls onto the deck.

KJ hugs his mother, and the two walk away from the dock.

Cut to

165.Ext. Camp Crystal Lake – DAY

The sun begins to rise over the lake, and it glistens onto Camp Crystal Lake.

Cut to

166.Int. Camp Crystal Lake Dining Hall – DAY

VIKKI and ANNIE watch through the windows as CHRIS and KJ enter the dining hall. KJ collapses to a seat from his wounds, and CHRIS kneels to his aid.

VIKKI:

We tried to the phones, they're all dead.

CHRIS:

It's all over, it's finally all over.

VIKKI:

Do you want me to run and get help?

CHRIS:

Yes, take Annie with you.

VIKKI nods and walks to the door. ANNIE hugs her mom before they leave. CHRIS watches as VIKKI and ANNIE jog up the driveway. She then turns to KJ, who faintly smiles at her.

KJ:

You did it mom, you overcame your fears.

CHRIS:

How's that leg.

KJ:

I'll live, which is more than I can say for Jason and his demented family.

CHRIS:

Glad to hear it.

KJ:

Mom.

CHRIS:

Yes?

KJ:

I want to get out of this town.

CHRIS smiles and stands up, the morning light allowing her hair to glow. She nods at KJ.

Suddenly, JASON comes crashing through the window. He is unmasked and so grotesque that it is beyond belief. He grabs CHRIS by the torso and pulls her out as she screams.

Fade out

Fade to

167.Int. The Hospital – DAY

KJ wakes up with a gasp from what seems to be a nightmare. He comes to his senses to see that he is in a hospital. Next to him, sleeping on hand is VIKKI, who has changed out of her prom clothes into normal street clothes. On the other side of his bed is ANNIE, who has also changed clothes. ANNIE is asleep as well. Both ANNIE and VIKKI awake to KJ'S gasp.

KJ:

What, what happened?

VIKKI:

You were out for a good twenty four hours. It's already Sunday, October 15th.

ANNIE:

Dad's driving down, he should be here shortly.

KJ:

Oh, Jesus.

VIKKI:

Your leg was cut up pretty bad, needed some stitches, but the doctor says you'll be okay.

KJ:

And are you two alright.

VIKKI:

We're both fine. A little psychologically damaged I'd imagine, but we're fine.

ANNIE:

I need to get a drink.

VIKKI:

I'll come with you. KJ, there's a cop here who wants to speak with you. I figured it would be best if your sister and I were in the hall.

KJ:

Yeah, okay.

VIKKI nods and lends her hand out for ANNIE, who gets out of her seat and leaves the room with VIKKI. Two police officers then walk into the room, one of them being the DEPUTY Morgan.

DEPUTY:

Hello KJ, I'm Deputy Morgan. I was wondering if you could answer a few questions for us?

KJ:

Wait, where's my mom?

The DEPUTY looks at the ground and bits his lip, before taking a deep breath.

DEPUTY:

I hate to tell you this son, but your mom was found dead yesterday at Camp Crystal Lake. You were found only a few feet away from her, unconscious.

KJ:

What? But… Jason.

DEPUTY:

I'm very sorry for your loss.

KJ:

What about Jason?

DEPUTY:

Your two friends out there keep telling me about some man named Jason as well, but its impossible.

KJ:

How so?

DEPUTY:

For one, Jason Voorhees was killed twenty two years ago. And for another, there was no body recovered.

KJ:

But, I killed him, I stuck an axe in his neck.

DEPUTY:

You're in shock right now. The man who murdered everyone was Dr. Elias Voorhees, the father of Jason. I guess murder is real popular in that family.

KJ:

Yes, he was there, but Jason was too. My mom cut off Dr. Voorhees' head and I killed Jason.

DEPUTY:

Yes, about the head. We have yet to find it.

KJ:

You didn't Jason… he must still be out there.

KJ rolls his eyes towards the window and looks out at the sun which is shining brightly.

Cut to

168.Ext. Random Path by the Lake – DAY

JASON is walking along a path slowly, holding a machete in one hand and his father's head in the other. JASON has the mask back on his face. A slow zoom onto JASON'S blood-stained mask slowly fades out the picture. The darkness behind the mask does not reveal his face.

Fade Out

THE END


End file.
